Full text of "The Hollywood Reporter November 27, 2015"

See other formats

NOVEMBER 27, 2015

\^atmuU

ceve Jobs,
Star Wars

Pixar’^

Q&A:1

Disney’

The High 5!

The most boss
quintet of the
past five years

The OTT
Holiday
Gift Guide

Seerets of
Late Night

Foil: Who’s
watching ,

and why /

The (Supersi^edt)
Aetress Roundfjable

Clockwise from top left:
Cate Blanchett,

Helen Mirren,

Jennifer Lawrence,
Charlotte Rampling,
Carey Mulligan,

Kate Winslet,

Brie Larson
and Jane Fonda

‘A HIGH-WIRE ACT

BRAVURA

MjCHAEL FASSBENDER AN

^ oni^rW 4

LEGENDARY ewii umvumal iruwM

universalpicturesawards.com

OF MUST-SEE

CINEMA.

D KATE WINSLET DAZZLE’.’

Anne Thompson INDIEWIRE

for your consideration

best actor

Michael Fassbender

best supporting actress

Kate Winslet

Steve jobs

‘“BLACK MASS’ ALLOWS JOHNNY D
THE RESULT IS SOME OF THE BEST,

THIS IS AN IDEAL ROLE FOR DEPP BECAUSE IT CALLS ON BOTH HIS FO

“BENEDICT
CUMBERBATCH
IS EXCELLENT.”

SCOTT FOUNDAS, I^RlEn

BEST PICTURE

FOR YOUR CONSI

BEST ACTOR

JOHNNY DEPP

WINNER I

MALTIN MODERN MASTER AWARD

SANTA BARBARA INTERNATIONAL FILM FESTIVAL

BEST SUPPORTING ACTOR
JOEL EDGERTON
BENEDICT CUMBERBATCH

BEST SUPPORTING ACTRESS
DAKOTA JOHNSON
JULIANNE NICHOLSON

OUTSTANDING PERFORMANCE BY
A CAST IN A MOTION PICTURE

JOHNNY DEPP I JOEL EDGERTON
BENEDICT CUMBERBATCH RORY COCHRANE
W EARL BROWN I DAVID HARBOUR I DAKOTA
JULIANNE NICHOLSON KEVIN BACON I COREY
PETER SARSGAARD I ADAM SCOTT JUNO TEMPLE

EPP TO DO THINGS HIS WAY, AND
MOST CHILLING WORK HE’S DONE.

RMIDABLE CHARISMA AND HIS PENCHANT FOR HIDING IN PLAIN SIGHT.”

“JOEL EDGERTON
IS OUTSTANDING,

PAINTING A VIBRANT PICTURE OF AN
AMBITIOUS HUSTLER WHO THINKS HE CAN
TALK HIS WAY INTO AND OUT OF ANYTHING
BUT WHOSE ANXIETIES BEGIN TO SHOW
LIKE CRACKS IN MELTING ICE.”

TODD McCarthy,

ffoUlJlIlHHl

• /RePORTCR

KENNETH TURAN,

“DAKOTA JOHNSON
SHINES.”

KATEY RICH, \AMTVFAII1

“JULIANNE
NICHOLSON
GIVES A SUPERB
PERFORMANCE

IN A FILM FILLED WITH THEM
INCLUDING DAKOTA JOHNSON,
RORY COCHRANE, JESSE
PLEMONS, JUNO TEMPLE,
PETER SARSGAARD, AND
BENEDICT CUMBERBATCH
AS WHITEY’S BROTHER
BILLY BULGER.”

JOE MORGENSTERN,

THE WALL STREET JOllN’AL

JESSE PLEMONS

JOHNSON

STOLL

GUCCI

gucci.com

NOVEMBER 27, 2015 NO. 39

FEATURES

Yes, a Lot Can Change in 5 Years

• In the brief window since this
publication debuted, stars have risen (see:
Jennifer Lawrence and Kevin Hart), legends
fell (exit Bill Cosby), megadeals were done
(Disney buying Lucasfilm) and revolutions
began (diversity, pay equality, gay marriage).
And it was all captured right here in the pages
of The Hollywood Reporter.

^ Actress Roundtable

Eight top stars talk about
skinning squirrels, learning to pee on film
and the price they pay for speaking frankly
Says Jennifer Lawrence: “There’s always a
backlash.” By Stephen Galloway

Making of Bridge o/Sp/es

Vr “If s as close to my life as you can
get,” says Steven Spielberg of a bathtub scene
straight from his childhood in the Cold War
real-life spy thriller, as the director describes
drawing on everything from his childhood fears
to his father s own Russian slides. By Andy Lewis

1 My Secret for Disappearing

Into Character

Twenty stars of awards season talk movingly
about how they inhabited fear (“I didn’t sleep
for two nights”), love (“the glow is in my muscle
memory ... my husband died 15 years ago”)
and nerves (“I had a full-body panic attack”)
onscreen. By Thelma Adams and Scott Feinberg

ON THE COVER

Clockwise from top left: Cate Blanchett, Jane Fonda, Helen Mirren,
Jennifer Lawrence, Charlotte Rampling, Carey Mulligan,

Kate Winslet and Brie Larson photographed by Miller Mobley on
Nov. 14 at Line 204 Studios in Los Angeles.

styling by CAROL MCCOLGIN

On Blanchett: Mugler jumpsuit. On Fonda: Lanvin top, Stella McCartney pants,
Jimmy Choo shoes, David Webb earrings and cocktail ring. On Mirren: Narciso
Rodriguez dress, Pedro Garcia shoes, Irene Neuwirth ring. On Lawrence: Cushnie
et Ochs jumpsuit, Dior coat, Jimmy Choo shoes, Jennifer Meyer necklace, earrings
and stacked rings. On Rampling: Givenchy coat dress. On Mulligan: Valentino
blouse, Roksanda pants, Kurt Geiger shoes, Jennifer Meyer necklace and earrings.
On Winslet: Roland Mouret dress, Gianvito Rossi shoes. On Larson: Altuzarra
blouse, jacket and trousers, Kurt Geiger shoes.

122

Clockwise from front left: Carey Mulligan, Brie Larson,
Cate Blanchett, Jane Fonda, THR’s Stephen Galloway,
Jennifer Lawrence, Helen Mirren, Charlotte Rampling and
Kate Winslet take part in THR’s Actress Roundtable
on Nov. 14 at Line 204 Studios in Los Angeles. Below: Larson
(left) has a hug for Lawrence and her dog, Pippi.

PHOTOGRAPHED BY Emily Bcrl

O To find out what the actresses would be doing if they weren’t acting go to THR.com.

Driven by wonderful performances
and a great script, it’s another of the top
^ year-end contenders for Best Picture.

Matt Damon’s portrayal is so
genuine, the emotions so seemingly
spontaneous... It is one of his best roles.
Everyone on screen is exceptional.
The Martian’ makes you dream
of humanity’s destiny among the stars."

Mark Hughes | FORBES

^MARTIAN

"II,,

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A LEADING ROLE

MATT DAMON

02P1S Fa Rh Cniwbai Al Riwwi.

S;l)(^cUtj|brk@imc9

(Elje tPa9i)in9ton pmi

“l& ENLIGHTENING US IT IS ENTERTiUNING,
1$ SOBERING US IT IS EXHIUIUTING,

'STRAIGHT OUnA COMPTON’ REMINDS VIEWERS NOT ONLY WHO
N.W.A WERE AND WHAT THEY MEANT. BUT ALSO WHY
THEY MAnERED-AND STILL DO.”

THE

NEWYORKEK

lOT MERELY POPUUUI BUT
INBISPENSIBLE, NOW AS THEN.

'STRAIGHT OUHA COMPTON' IS ALSO-APPALLINGLY AND INFURIATINGLY-

STRAIGHTOUTOF2015.

THE DIFFERENCE NOW IS THE SENSE OF NATIONWIDE
URGENCY THAT GOES WITH IT.”

‘“STRAIGHT OlinA COMPTON’ AIMS TO CROSS CULTORES

AND SANCnFVTHE WISDOM OF THE STREET.

IT MAKES A UNIVERSAL UNDERDOG STORY AND IT SUCCEEDS ON A
VISCERAL LEVEL. AMONG THE MOST POTENT RAGS-TO-RICHES
SHOWBIZ MOVIES EVER MADE.”

^ - r '

JH^lh^gStoae

SnUIGHTOUnil COMPTON’ IS EPIC.

AM EXPUtSIVEY ENTERTAINING HIP-NOP BIOPIC

THAT RAPS HOME TRUTHS ABOUT RACE AND POLICE BRUTALITY AS TIMELY
NOW AS THEY WERE DURING THE 1 980S IN COMPTON. AN ELECTRIFYING
PIECE OF HISTORYTHAT SPEAKS URGENTLYTO RIGHT NOW.”

FOR YOUR CONSIDEMTION

BEST PICTURE

STRIIGHT

IITTA

COMPTON

universalpicturesawards.com

univcwal

NOVEMBER 27, 2015 NO. 39

“We always want everyone to be themselves.
Capturing natural moments in time, we go with what is
actually happening — we don’t fabricate the moment.”

JENNIFER LASKI, photo and video director

DEPARTMENTS

THE REPORT

Paris: The Aftermath 27

Will the tragedy create
a new reality for music and
movies in France?

7 Days of Deals 36

ABOUT TOWN

The Red Carpet 42

At the Governors Awards and
the premiere of The Hunger
Games: Mockingjay — Part 2.

Rambling Reporter 48

THE BUSINESS

Executive Suite: Ed Catmull... 52

The brains of Disney s toon
empire on Frozen 2 and why Steve
Jobs would be “appalled.”

How Dead Authors
Are Making a Killing in
Hollywood 56

Stieg Larsson, Robert Ludlum and
others are digging up profits with
posthumous releases and movie
adaptations of their “latest work.”

The Great Late-Night Poll:
Where the Hosts Stand Now 58

As Fallon becomes dominant,

Colbert lures atheists and
Republicans prefer Kimmel.

STYLE

A #Haute

Hollywood Holiday 71

Indulge your industry colleagues
or most intimate friends with
these 25 gifts when you want to go
way over the top (all in good
taste, of course).

The Next Cars Hollywood

Will Drive 82

REVIEWS

Film 142

Creed By Todd McCarthy
TV 144

The Man in the High Castle

By Tim Goodman

BACKLOT

How We Did It: From A.M.
Also-Ran to Ratings Glory .. . 154

The anchors, producers and
players at Good Morning America,
celebrating its 40th anniversary, tell
THR all about decades of shuffling
hosts, executive drama and
covering world-shaking events.

12 I THE HOLLYWOOD REPORTER | 11.27.15

1 ^ 1^-Ti

* ■ '^ A ‘

.REFERENCE 57260
.57 COMPLICATIONS

On September 17th, the 260th day of the year, Vacheron Constantin marked its 260th anniversary

by reveaiing the most compiicated watch ever made.

Never has there been such an extraordinary aiignment of iegacy, passion and savoir-faire.

CRAFTiNG ETERNiTY SiNCE 1755

VACHERON CONSTANTIN

GENLVE

Experience our |m|^
260th anniversary

FOR YOUR CO NS I D E R A 1 1 O
IN ALL CATEGORIES

*<CARY FUKUNAGA HAS CREATED

A POWERFUL

FILM

AS HAUNTING AS

APOCALYPSE

NOW”

OFFICIAL SELECTION

TELLURIDE

FILM FESTIVAL
2015

BEST NEW TALENT

WINNER

VENICE FILM
FESTIVAL 2015

OFFICIAL SELECTION 'A

TORONTO &

INT'L FILM FESTIVAL
2015

IDRIS ELBA

BEASTS

OF NO

NATION

WRITTEN FOR THE SCREEN AND
DIRECTED BY CARY JOJI FUKUNAGA

LETTER FROM THE EDITOR

5 Years Ago,
Hollywood
Got a Face-Lift

F ailure is a blood sport in

Hollywood, consumed publicly and
voraciously Movies bomb, shows are can-
celed, executives are fired. The schadenfreude
runs as thick as the rush hour traffic on the 405.

THR Staff members who also
were here for the first issue were
photographed Nov. 16 in the
magazine’s copy department.

And in 2010, along with the Nic Cage-starring
The Sorcerers Apprentice and Fox’s Lone Star,
The Hollywood Reporter was among the town’s
spectacular stories of failure.

I moved here in July of that year to try to
restart this place, newly acquired along with
sister publications by deep-pocketed investors
bullish on their potential. Me.? I was tired
and somewhat bored of living in NYC, where
I’d moved when I was 17, as was my husband.
For years, I’d had a nagging persistent fear of
one day, as an elderly woman, regret-
ting having never left Manhattan. I
needed a little adventure.

But wanderlust wasn’t enough
of a reason to move to Los Angeles.

Earlier, I’d led another media
resurrection — Us Weekly, which
went from near insolvency to, at
its peak, one of the biggest brands
in publishing. I truly believed
that THR, one of countless media
titles on the gurney, wasn’t termi-
nally ill. Instead, it was committing
suicide. And someone was willing
to hand me a defibrillator.

Sitting in my Soho loft, I saw clearly in my
head what a reinvented THR could look like,
read like and who would like it (“executives
and their spouses,” I said simply to one of the
investors). One thought persisted: Holl 3 rwood
denizens had no idea just how big their stories

were. Entertainment had gone global and was
America’s largest export. But the media cover-
ing it felt small, petty, insignificant. I considered
a barometer of success for a future THR story
to be if people in New York cared about it. Not
because New York was more important, but
because that would mean we’d succeeded in
making Holl 3 rwood accessible and interesting
to the widest audience possible.

Fast forward to today. Time has flown. The
ideas I had in my head have been realized far
beyond what I imagined. Honestly,
it’s all been a blur because of the
staggering intensity and pace of
work (someone I know once said
that working on a weekly publica-
tion is like playing professional
sports with no offseason ... and that
was pre-Internet). Smart col-
leagues with too many good ideas
to execute, the dynamism of
news and the will to be boundlessly
creative means not just that I
take forever to answer non-urgent
emails (today I have 18,600 in my
inbox) but also that every day is a new sprint
to win.

One of the earliest changes had nothing to do
with fancy photos or paper. It was to create
a culture of winning. That meant deprogram-
ming the “old” staff’s belief that stories had
to be a certain way, that there were sacrosanct

!, ihiK'f /f /■ I

THR’s first cover, like this
week’s, was the awards season
Actress Roundtable, moderated
by Stephen Galloway.

THINGS PEOPLE SAY AT THE HOLLYWOOD REPORTER

“How are the pictures?”

SHANTI MARLAR,
CREATIVE DIRECTOR

“When are we breaking it?”

MATTHEW BELLONI,
EXECUTIVE EDITOR

“Has anyone heard from
Tim Goodman?”

JON FROSCH,
REVIEWS EDITOR

“How is the review?”

PAMELA MCCLINTOCK,
SENIOR FILM WRITER

“Hard pass ”

LESLEY GOLDBERG, TELEVISION
NEWS EDITOR AND RECIPIENT OF
ENDLESS PITCHES

“My Spidey sense
is tingling”

KIM MASTERS, EDITOR-AT-LARGE

1 Janice Min

2 Carrie Smith

3 Shanti Marlar

4 Jennifer Laski

5 Stephen Galloway

6 Merle Ginsberg

7 Kevin Cassidy

8 Carolyn Giardina

9 Amanda Tannen

10 Lesley Goldberg

11 Michelle Mondragon

12 Darah Head

13 Jenny Sargent

14 Borys Kit

15 Victor Klaus

16 Mike Barnes

17 Paul Bond

18 Andy Eiser

19 Gregg Kilday

20 Matthew Belloni

21 Peter B. Cury

22 Armen Sarkisian
Not pictured:

Eriq Gardner,

Brian Gaughen,

Tim Goodman,

Marisa Guthrie,
Shirley Halperin,
Bill Higgins,

Kelly Jones,

Kim Masters,

Todd McCarthy,
Carol McColgin,
Kimberly Nordyke,
Degen Pener,

David Rooney,
Scott Roxborough,
Georg Szalai,

Etan Vlessing

“rules.” I — the Us Weekly, non-Hollywood
interloper — was going to mess all that up. There
were plenty of snarky stories and whispers about
the changes, both here in THKs offices and in
town. I get that. It will go down as one of my life’s
best thrills to have proved the naysayers wrong.
And to have some of those “old” staffers now
among the biggest stars working here. “That’s
not how we do things” is not something people at
THR say anymore. The push to push ourselves
keeps this place alive, as evidenced not just in
your enjo 3 mient (we hope) in reading and watch-
ing what we produce, but in a web audience of
15 million a month, a TV series, podcasts, events,
an Emmy won by staff members, a National
Magazine Award for General Excellence and
dozens of L.A. Press Club Awards, including
one this year for best website.

So, thank you for coming on this whirlwind
adventure. Even if you once were waiting
— even rooting! — for us to fail, we forgive you.
It’s in the water here. And to my colleagues,
the finest in publishing, I could never express
enough gratitude for your huge leap of faith,
without which nothing, least of all a fifth anni-
versary no one saw coming, would be possible.

“If you’ve seen someone
dining, say something!”

GARY BAUM, SENIOR WRITER AND
“POWER DINING” EDITOR

“Do we really need all
these words?”

ENTIRE ART DEPARTMENT

“I promise to
read it on the plane ”

JANICE MIN

Janice Min, president and chief creative officer

16 I THE HOLLYWOOD REPORTER | 11.27.15

BVLGARI.COM

B V LG A R I

ROMA

OCTO

TOURBILLON

8569 W. SUNSET BLVD WEST HOLLYWOOD CA. 310 289 0808
WESTIME.COM

THE THINNEST TOURBILLON MOVEMENT IN THE WORLD

Janice Min o)

PRESIDENT/CHIEF CREATIVE OFFICER, ENTERTAINMENT GROUP

Matthew Belloni (2)

EXECUTIVE EDITOR

Alison Brower (3)

DEPUTY EDITORIAL DIRECTOR

Shanti Marlar (4)

CREATIVE DIRECTOR

Stephen Galloway (6)

EXECUTIVE EDITOR, FEATURES

Jennifer Laski (7)

PHOTO & VIDEO DIRECTOR

Jeanie Pyun

DEPUTY EDITOR

MANAGING EDITOR Amelic Chcrliu

EDITOR-AT-LARGE Kim Mastcrs (9)

FILM

FILM EDITOR Gregg Kilday (10) • senior film writers Borys Kit (11), Pamela McClintock (12), Tatiana Siegel (13)
FILM REPORTER Rebecca Ford (14) • staff writer, film Mia Galuppo (15) • chief film critic Todd McCarthy
film a THEATER CRITIC David Rooney • international film editor Deborah Young

TELEVISION

TELEVISION EDITOR Laccy Rosc (16) • CHIEF TELEVISION CRITIC Tim Goodmau • TELEVISION CRITIC Daniel J. Fienberg
TELEVISION EDITOR, EAST COAST Marisa Guthric • TELEVISION NEWS EDITOR Lcslcy Goldberg (17)

SENIOR WRITER, TELEVISION Michacl O’Connell (18) • television writer Kate Stanhope

SENIOR EDITORS Benjamin Svetkey (19), Mike Barnes (20) copy • music editor Shirley Halperin
reviews editor Jon Frosch • style editor Carol McColgin (21) • senior style writer Merle Ginsberg (22)
senior writers Seth Abramovitch (23), Gary Baum (24), Scott Johnson • senior reporter Rebecca Sun (25)
international business editor Georg Szalai • west coast business editor Paul Bond
senior editor, new YORK Eriq Gardner (26) • books editor Andy Lewis (27)

STAFF writer Chris Gardner (28) • staff writer, digital media Natalie Jarvey (29) • associate editor Lindsay Flans
STAFF REPORTER Austiu Siegemuud-Broka (30) • assistant style editor Jane Carlson (31)

EDITORIAL ASSISTANTS Sharifa Godfrey (32), Brian Porreca (33), Bryn Elise Sandberg (34)
ASSiSTANTTO THE chief creative officer Bcuo Akram (35)

ART

DESIGN DIRECTOR Pctcr B. Cury (36)

ART DIRECTOR Kclscy Stcfansou (37) • ASSISTANT ART DIRECTORS Nicholas Brawley,

Christopher Hawkins, Christine Park

ART PRODUCTION MANAGER Michellc Moudragou (38)

ART PRODUCTION ASSOCIATES Danicllc Grimcs (39), Jennifer Rzepka, Amanda Tannen

PHOTO & VIDEO

DEPUTY PHOTO DIRECTOR Carrie Smith (40)

PHOTO EDITORS Chclsca Archcr (41), Michelle Stark (42) • senior photo producer Kate Pappa
ASSOCIATE PHOTO EDITORS Tristau Casscl (43), Kimberly Diehl • photo researcher Megan Downie
ASSISTANT PHOTO EDITOR Jared Rosenthal • photos video assistant Dustin Hattier (44) • photo editor-at-large Jenny Sargent

HEAD OF PRODUCTION, VIDEO Stephanie Fischette
VIDEO PRODUCERS Victoria McKillop (45), Laela Zadeh • lead video editor Victor Klaus
JUNIOR VIDEO EDITOR Alfred Aquiuo • JUNIOR video editor/motion graphics artist Jose Cortez

THR.COM

DEPUTY EDITOR Kimberly Nordyke (46)

DEPUTY NEWS DIRECTOR Erik Hayden • staff editor Ryan Parker
STAFF editor, NEW YORK Hilary Lewis • digital style director Erin Weinger
ASSOCIATE STYLE EDITOR Stephanie Chan (47) • associate editor Ashley Lee • copy chief Pete Keeley (48)

PHOTO EDITORS Amy Kaplan, Christina Pompa-Kwok • social media manager Jennifer Liles
SOCIAL MEDIA COORDINATOR Christina Schoellkopf • assistant editors Meena Jang, Samantha Reed,

Natalie Stone, Arlene Washington (49) • awards blogger/analyst Scott Feinberg (50)

COPY

ASSOCIATE MANAGING EDITOR Jennifer H. Levin

DEPUTY COPY CHIEF Darah Head (51) • senior copy editor Cheryl Cheng • contributing copy editors Andy Eiser, Richard Paul

INTERNATIONAL

INTERNATIONAL NEWS EDITOR Kcvin Cassidy
ASIA BUREAU CHIEF Clifford Coonan • Canada bureau chief Etan Vlessing
FILM REVIEWERS Harry Windsor Australia • Clarence Tsui china • Jordan Mintzer France • Elizabeth Kerr hong kong
Boyd Van Hoeij Luxembourg • Jonathan Holland Spain • Stephen Dalton, Leslie Felperin, Neil Young u.k. • Lisa Tsering u.s.

CORRESPONDENTS AgUStiu MaUgO ARGENTINA • Pip Bulbcck AUSTRALIA • Rhouda Richford FRANCE

Scott Roxborough Germany • Karen Chu hong kong • Ariston Anderson italy • Nyay Bhushan india • Gavin J. Blair japan
Lee Hyo-won korea • John Hecht Mexico • Nick Holdsworth, Vladimir Koslov Russia • Pamela Rolfe Spain • Alex Ritman u.k.

CONTRIBUTING EDITORS

Bill Carter • Tina Daunt politics • Carolyn Giardina tech • Jonathan Handel labor
Austin Hargrave • Bill Higgins (52) • Wesley Mann • Miller Mobley • Degen Pener culture • Joe Pugliese
Ramona Rosales • Elizabeth Snead fashion • Michael Walker • Michael Wolff

RIN 60 STARR

• ROOMIER FIT
SKECHERS MEMORY FOAM
• INSTANT COMFORT

American Airlines

Love at First Class.

Enjoy the only true First Class coast to coast, with lie-flat seats and all-aisle
access. Once you experience our premium service, you won’t want to fly
with anyone else.

Lynne Segall o)

EXECUTIVE VICE PRESIDENT/GROUP PUBLISHER, ENTERTAINMENT GROUP

Elisabeth Deutschman ( 2 )

VICE PRESIDENT, TELEVISION & MEDIA

Victoria Gold

VICE PRESIDENT, ENTERTAINMENT

Alison Smith

MANAGING DIRECTOR, INTERNATIONAL SALES

ADVERTISING

MANAGING DIRECTOR, FASHION & BEAUTY Tyler Moss Del Vcnto (3)

EXECUTIVE DIRECTOR, WESTCOAST BRAND PARTNERSHIPS Bill Corvalan
EXECUTIVE DIRECTOR, INDEPENDENT FILM a TALENT Dcbra Fink
EXECUTIVE DIRECTOR, TELEVISION a FILM Bcllinda Alvarcz • EXECUTIVE DIRECTOR, TELEVISION Scott Perry
DIRECTORS, BRAND PARTNERSHIPS Karbis Dokuzyan, Hillary Gilmore,Amy Jo Lagermeier,

Tim Malone (4), Brittany Strametz, Griffin Sweet, Randi Windt, Robert Zayas

EXECUTIVE DIRECTOR, REGIONAL CONSUMER Tina Marie Smith (5)

SENIOR DIRECTOR, LUXURY, FASHION a BEAUTY OlMer Bcrton • SENIOR ACCOUNT DIRECTOR Lori Copcland
DIRECTOR OF BUSINESS DEVELOPMENT Cathy Field (6) • EXECUTIVE ASSISTANT Lorainc Smirnov C7)

SALES COORDINATORS Alyssa Adkisson (8), Ali Feulner, Chelsea Sageer (9)

ACCOUNT DIRECTOR, ASIA Ivy Lam (10) • INTERNATIONAL ACCOUNT DIRECTOR Tommaso Campione
ACCOUNT DIRECTOR, NEW ZEALAND a AUSTRALIA Lisa CrUSe

DIGITAL MEDIA

GENERAL MANAGER, DIGITAL Daniel StraUSS (11)

SENIOR VICE PRESIDENT, DIGITAL MEDIA Tom Seeley (12)

VICE PRESIDENT, ANALYTICS a AUDIENCE DEVELOPMENT Jim ThompSOn
INTERACTIVE ART DIRECTOR Rett Alcott • SENIOR DIRECTOR, PRODUCT Nathan McGowan (13)

DIRECTOR, PRODUCT Reed Hallstrom (14) • senior product manager Alex White
PRODUCT MANAGER Daniel Reynoso • digital project manager Franklin Horn (15)

SENIOR ADVERTISING OPERATIONS MANAGER Corffine van den Heuvel (16)
advertising OPERATIONS associate Samantha Turpen
senior director, revenue operations Natalie Tejwani • director, media Alyssa Convertini

SENIOR ACCOUNT MANAGER , FILM a ENTERTAINMENT All Kummer
DIGITAL ACCOUNT MANAGERS Jessica Ceiwantes, Molly Codner, James Dalgarno,

Jamie Davidson, Renee Giardina • digital analytics manager Katherine Shaoul
SOCIAL marketing MANAGER Stephanie Apessos
associate DIGITAL account MANAGER Katelyn Taylor • qa engineer Robert MacCracken

MARKETING

VICE PRESIDENT, MARKETING Ifyle EjOnkoski
CREATIVE DIRECTOR Liz Welchman

DIRECTORS, INTEGRATED MARKETING Julie Cotton, Laura Lorenz • ASSOCIATE DIRECTOR, MARKETING Erika Cespedes
SENIOR INTEGRATED MARKETING MANAGERS Jessica Bemsteffi (17), Lisa DiMatteo
SENIOR DESIGNER Taryn Espinosa (18) • marketing design manager Kim Grasing
INTEGRATED MARKETING MANAGERS Tara Broughton, Ashley Rix • MARKETING COORDINATORS Jonathan Holguin, Samantha Smith (19)
EXECUTIVE ASSISTANT/MARKETING COORDINATOR Mary RoOUey

EXECUTIVE DIRECTOR, CONFERENCES a EVENTS Curtis ThompSOU (20)

ASSOCIATE MANAGER, EVENT MARKETING Auush Cabraloff (21) • EVENT MARKETING COORDINATOR Joshua BrackeU

OPERATIONS

FINANCE DIRECTOR David Almoue

ADVERTISING BUSINESS MANAGER Jerry Ruiz • GROUP PRODUCTION DIRECTOR Kelly Joues (22)

DIRECTOR, AUDIENCE DEVELOPMENTa CIRCULATION Katie Filliugame (23) • PROCUREMENT MANAGER Linda Lum
ADVERTISING PRODUCTION MANAGER Maya Eslami (24) • SENIOR DESIGNER Suzaune Rush (25)

IMAGING MANAGER Brian Gaugheu (26) • senior imaging specialist Oscar Rodriguez (27)

HEADQUARTERS

5700 Wilshire Blvd., Suite 500 • Los Angeles, CA 90036 • phone (323) 525-2000
editorial email THRnews@thr.com • advertising (323) 525-2013 • advertising fax (323) 933-8244 • art department fax (323) 525-2244

New York 340 Madison Ave., 6th floor. New York, N.Y. 10173 • phone (212) 493-4200
FAX (646) 654-5637 • newyork sales office (212) 493-4193

SUBSCRIPTIONS

u.s. (866) 525-2150 • outside u.s. (845) 267-4192 • hollywoodreporter.com/subscribe

John Amato

PRESIDENT, ENTERTAINMENT GROUP

Gary Bannett

chief financial officer

Allan Johnston

chief OF STAFF

Julian Holguin

senior vice PRESIDENT,
BRAND PARTNERSHIPS

Jim Jazwiecki

SENIOR VICE PRESIDENT,
TECHNOLOGY

Dana Miller

EXECUTIVE VICE PRESIDENT,
MARKETING a BRAND DEVELOPMENT

Meghan Milkowski

VICE PRESIDENT, PRODUCTION a CIRCULATION

Angela Vitacco

VICE PRESIDENT, HUMAN RESOURCES

Daudi Titus

CONTROLLER

Michele Singer Alexandra Aguilar (28)

GENERAL COUNSEL HUMAN RESOURCES DIRECTOR

GREUBEL FORSEY

WESTIME

5N Red gold case
Unique edition of 1 1 pieces

DOUBLE TOURBILLON 30°
EDITION HISTORIQUE

• BEVERLY EilLLS

MODERN LUXE

MAKE A STATEMENT WITH THE WORLD'S MOST ICONIC BRANDS.

Cxirtler

LOUIS VUinON

nunBKRRV

JIMMY CHOO

Tiffany & Co.

OMEGA

DAVID YU R MAN

n y A II 1

WIITZMAN

GUCCI

OPANGA

VISIT WESTFIELD.COM

6600 Topanga Canyon Blvd. | Canoga Park, CA 91303

MICHAEL SHANNON GIVES A TOUR-DE-FORCE
TURN. HE’S EXTRAORDINARY

You can’t look away from him.

- JOE NEUMAIER, I>AILY»NEVVS

"MICHAEL SHANNON is an actor of singular power.
He is a terrifying presence. Indeed, a diabolical one."
-JOE MORGENSTERN THE WALL STREET JOURNAL.

A dynamite performance by MICHAEL SHANNON
that showcases his formidable gifts."

KENNETH TURAN Los Angclcs (Ttmcs

f'S

"Played with tiger-shark ferocity by
MICHAEL SHANNON. He is the film’s c^ter of
gravity - its supernova, its black hole, its avatar
of cosmic disorder. He is the seductive embodiment
of capitalist amorality. A masterpiece of suspense."

- A. 0. SCOTT £bf ycUi jJoTk Sintc0

’MICHAEL SHANNON magnetizes all eyes like a cobra
in the corner."

RICHARD CORLISS TIME

"MICHAEL SHANNON channels his character’s demons
with supernatural discipline. Sensational."

DAVID EDELSTEIN

#IFP GOTHAM AWARDS 'i.

NOMINEE

Michael Shannon

BEST ACTOR

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST SUPPORTING ACTOR
Michael Shannon

RICK CARVER:

“America doesn't bail out the losers.
America was built by bailing out winners.
By rigging a nation of the winners,
for the winners, by the winners."

99 HOMES

For more on this extraordinary movie, please visit: Broad6reenGuilds.com e 2Qlfi BOR ftWMUing, UX. M RH|t«s

BROADGREEN

FILM

WEINSTEIN WOES Layoffs and

a big bet on Tarantino 28

< MOGULS

LIONSGATE AND LIBERTY When

will Malone make his move?.... 30

DEALS

POLITICS Why Nielsen sold

NRG to a Hillary operative 36

the REP ORT

AN INSIDE LOOK BEHIND THE HEADLINES

Paris Terror:
The Uncertain
Impact on
Film Security

As premieres and concerts are canceled
and studios weigh whether to release
controversial titles, French industry insiders
remain defiant: ‘Trust the market will recover’

By Rhonda Richford

O PENING NIGHT FOR THE FINAL HUNGER

Games movie, Mockingjay — Part 2, was expected
to be a major event in France, where the fran-
chise has a rabid fan base. But after the terror
attacks that rocked the city Nov. 13 and left 130 dead and
hundreds injured, neither the sneak preview Nov. 17 nor
opening-night screenings the following day sold out.
“[The attacks] are in the back of my mind,” a patron pur-
chasing three tickets at the Gaumont Opera theater told
THR on Nov. 17. The man, who declined to give his name,
says he debated walking the streets to the cinema before
deciding that seeing the film would be a show of strength.
“Call me crazy, I have to see it with friends,” he says. “If
something were to happen, a bullet is a bullet, but I would
rather be together.”

Shock, anger and fear were mixed with perseverance
and resolve among the French in the days following
the attack, and those feelings are being reflected in
people returning to entertainment venues, much
as they did in the U.S. after the mass shooting at an
Aurora, Colo., movie theater in 2012. How much the
Paris terror attacks attributed to ISIS — whose vic-
tims include 80 fans of the band Eagles of Death Metal
shot during a concert at the Bataclan theater, and
one person at a bombing at Stade de France during
a soccer match — will affect the movie, music and
live-events business in France and throughout Europe
remains to be seen.

Theater chains have reopened after closing for the week-
end. U2 and Foo Fighters canceled concerts (U2 — whose
frontman, Bono, called the attack “the first direct hit on
music” — was set to air its performance on HBO, whose
CEO Richard Plepler was in Paris for the event), and Prince
scrapped his European tour. Paris premieres of Steven
Spielberg sErz^/gc of Spies, Natalie Portman s Got a Gun

and Tom Hardy s Legend also were called off.

Rentrak estimates the latest James Bond film. Spectre,
lost about 20 percent of its first-week box office in France
because of the closure, and Fox’s The Martian also took
a hit. But they could pick up steam if French moviegoers
return, as they did after the Charlie Hebdo attack in
January, which caused box office to dip slightly before

fv ^

1 Parisians mourned outside the Bataclan
theater on Nov. 13.

2 French President Francois Hollande
called the attacks “an act of war.”

France began intense bombing of an ISIS
stronghold in Syria on Nov. 16.

3 Stade de France was evacuated after

a bomb exploded outside the venue during
a soccer match.

recovering. The new terror strikes are expected to cause
similar short-term declines but little long-term impact.

Mockingjay — Part 2'^ French distributor. Metropolitan
Filmexport, decided not to move the Nov. 18 release date.
“It’s a political situation, and we don’t want that to influ-
ence the release of the movie or to impact the liberty of
people,” says a rep for the film, indicating industrywide
agreement. “This is the decision of everybody, of all the
distributors and the exhibitors in France. You have to do
what you would do in normal circumstances.”

The controversial in France — Nicolas Boukhrief’s
thriller about homegrown jihadis in Paris’ suburbs,
which already had been bumped from theaters fol-
lowing the Charlie Hebdo attack — was pulled
from theaters. StudioCanal says it is considering
postponing the scheduled February release of
Bastille Day, the Idris Elba action thriller about a
bombing in Paris, but that decision had not been
made at press time.

Most French entertainment insiders agree the
industry remains defiant — if cautious. “We’ve been
asked by a couple of distributors if they should reschedule
movies or not,” says Rentrak France GM Eric Marti. “But
we’ve told them, ‘No, go on; it’s more risky for a film to
create confusion. Trust the market will recover.’ ”

Pathe went ahead with the Nov. 16 premiere for Thomas
Bidegain’s Les Cowboys despite the touchy topic of Islamic
radicalization. It will be released Nov. 25 as scheduled. BAG
Films also refused to move Taj Mahal, Nicolas Saada’s
film about the similar coordinated terror attacks that hit
Mumbai in 2008 and killed 164. It remains set for Dec. 2.
“We are certain that if we retreat today, it’s surrender
tomorrow,” says a company rep.

Theater security, which already had been upped to
unprecedented levels after 12 Charlie Hebdo employees were
killed in a gun attack, will be increased further. For

|^«^l!H!lll!lllAll

DENZEL WASHINGTON

The veteran actor scores
the Cecil B. DeMille Award and
will take center stage at
the Golden Globes in January.

ANGELINA JOLIE PITT

By the Sea, the director’s moody
melodrama with husband Brad
Pitt, sinks in limited release,
grossing $9,625 a theater despite
boasting two major stars.

NIC PIZZOLATTO

Despite criticism of True
Detective’s season two, its
creator signs a rich HBO
deal to stay with the network
through 2018 (and possibly
write a third season).

STEVEN BAIGELMAN

The Wicked C/ty creator
wins the unfortunate honor
of suffering the season’s
first broadcast series
cancellation as ABC pulls the
plug on the DOA drama.

SHOWBIZ STOCKS

- $34.19 (+ 2 . 4 %)
SINCLAIR BROADCAST (sbgi)

Observers expect the
nation’s largest broadcaster
of local news to benefit from
an anticipated $4.4 billion in
political advertising this season.

O $21.91 (- 13 . 9 %)
CARMIKE CINEMAS (ckec)

The owner of 2,875 movie
screens loses 19 cents a share
in the third quarter, whereas
analysts projected a 14-cent
loss on higher-than-expected
depreciation of assets.

www.thr.com | THE HOLLYWOOD REPORTER | 27

REPORT

example, a rep for the Grand Rex theater, which hosted the Mockingay
premiere Nov. 9, says it has added 24-hour guards.

A spokesperson for EuropaCorp, the prolific film and TV company
founded by French filmmaker Luc Besson, says the company will review
security procedures for upcoming premieres. “We have our own security
company, and we will be emphasizing very strong security, bag searching
and the like,” says the rep. “Once we set [premiere] dates, we will sit
down and discuss the security implementation.”

As for U.S. distributors with operations in Europe, few are willing to
detail security measures — for obvious reasons. “The cardinal rule about
security is that you don’t talk about security,” says a studio source.

But nearly all are voicing concern for the safety of employees and talent
who travel to Paris and the rest of Europe as part of film releases. The
next big global tentpole is Disney’s Star Wars: The Force Awakens, which
opens in France on Dec. 16, two days ahead of its North American

launch. Disney declined comment on whether its rollout plan would be
altered, but its French premiere already had been planned as a small affair
without any major stars (instead, journalists will be flown to London for
the red-carpet event). London is more popular than Paris when it comes
to big premieres. Still, Paris hosts its fair share. Screenings and junkets
can be invaluable in the region because TV commercials for movies aren’t
allowed in France. “It’s a way to advertise your film,” says a publicist. “For
the immediate future, things will be canceled.”

While wrestling with the aftermath, French filmgoers refuse to give up
on their love of le cinema. One moviegoer THR spoke with on the Champs
Elysees: “Film is French. Why would we let them take that away from us.^”

Pamela McClintock contributed to this report.

Paris Under Siege: Mourning the Industry’s Victims

NICHOLAS
ALEXANDER, 36

Merchandise manager
for bands including Sum 31
and The Black Keys.

THOMAS AYAD, 34

International product manager
at Mercury Records.

MAXiMEBOUFFARD,26

Filmmaker and postproduction j
specialist.

GUILLAUME DECHERF, 43

A music journalist for the
magazine Les Inrocks, Decherf

had written
about Eagles
of Death Metal
in its Oct. 28
issue and first
revealed the
band’s November
concert at the Bataclan.

mourned the “loss of a kind,

. dear soul, a musician, teacher,

■ and friend.”

■ THOMAS
DUPERRON,30

; Communications director
; at Paris’ Maroquinerie
. theater and music venue.

GREGORY
: FOSSE, 28

; Music programmer at D17
; television station.

. MATHIEU HOCHE,38

1 Normandy-born Hoche

was a camera
technician
for the France 24
news channel.

A friend tweeted
about his love
for rock music.

i DJAMILAH0UD,41

: Employed at Paris-
j based fashion house Isabel
r Marant.

! FANNY MINOT, 29

j Editor for TV news show
; Le Supplement, which airs
' on Canal Plus.

: LAMIA MONDEGUER, 30

j Communications manager at
I the Studio Noma talent agency.
\

: MARIE MOSSER, 24

: Mercury Records executive.

I MANU PEREZ, AGE UNKNOWN

A music market-
ing executive
who had worked
at Universal Music
France for more
than a decade.
Perez was killed
I at the Bataclan along with
! his girlfriend. Precilia Correia.

; KHEIREDDINESAHBI,29

Professional violinist
' widely known as “Didine.”

^ LUIS FELIPE
; ZSCHOCHE VALLE, 33

: Valle was the

] \ r group Captain

I Americano,

i The band posted

i a tribute on its Facebook page
j showing Valle onstage during a
i concert in a pilot’s uniform.

: — ALEXRITMAN

ROMAIN DUNAY, 28

Dunay was a
professional
musician. “You
are immortal,”
a friend wrote
on Twitter,
while another

Is The Weinstein Co. for Sale?

Layoffs, defections and a scuttled TV deal leave Harvey’s board pondering the future
(possibly with Ron Burkle) as the studio makes a big bet on Tarantino’s Hateful Eight

By Tatiana Siegel

N NOV. 16, THE WEINSTEIN

Co. revealed it will slash nearly
one-fifth of its staff, mostly fronn
the film division. But are Harvey and Bob
Weinstein looking to unload more?

Sources say TWC is considering selling
part or all of the company the brothers
founded in 2005. Among the intriguing
scenarios: Billionaire Ron Burkle is said
to have expressed interest in purchasing
TWC and merging it with Independent
Talent Group, a U.K. agency in which he
has a big interest. A Burkle rep declined
comment, but a source close to him says,
“Ron thinks very highly of Harvey.” TWC
also declined comment.

TWC, which was close to a deal to sell
its TV division to ITV in April for as
much as $950 million, has been plagued
by executive defections. Marketing presi-
dent Stephen Bruno exited for Netflix
in October 2014, soon after the depar-
tures of president of production and

28 I THE HOLLYWOOD REPORTER | 11.27.15

acquisitions Dylan Sellers and TV chief
Meryl Poster. Now about 50 positions
will be cut. In July, COO David Glasser
announced abruptly that he was resign-
ing, only to return six weeks later with
a three-year contract. Tom Quinn and
Jason Janego, heads of TWC’s bou-
tique distributor Radius, bolted in August
to start their own label with Tim League.

In addition, talent reps have com-
plained that TWC is slow to pay fees and
residuals. Behind the scenes, Canadian
film financier Jeff Sackman recently
exited TWC’s board, and Cablevision CEO
James Dolan, a close friend of Harvey
Weinstein, joined. Although the
Weinstein brothers hold a big stake in
TWC, they do not own controlling inter-
est. They also do not control the board,
which “has not been happy for some
time,” says a board source.

There are more than 30 investors in
TWC, including Goldman Sachs, ad

agency group WPP, Tunisian entrepreneur
Tarak Ben Ammar and hedge funds like
Ziff Brothers. Ben Ammar, also a member
of Vivendi’s supervisory board, is said
to be calling the shots with TWC’s board.

During the past two years, the film
unit has a mixed record. This summer’s
boxing drama Southpaw and animated
Paddington were hits, but the pricey
acquisition Begin Again flopped, as did
Bradley Cooper’s recent release
Burnt. A great deal is riding on Quentin
Tarantino’s The Hateful Eight (Dec. 25),
which sources say cost about $70 million.

Talks with ITV to buy TWC’s TV unit
stalled in part because of the status of
Harvey Weinstein’s employment con-
tract. But the brothers recently re-upped
their deals for three years, and layoffs
are intended to make the company leaner
and more efficient. “The board reached
an understanding with the brothers, and
they are making resources available

again,” says the board source. “They
had been too prolific in film acquisi-
tions and production; TV requires less
capital. Significant players are now
circling — that’s why [these layoffs are]
not surprising.” QZLa

“Carey Mullig^an is a revelation.”

VOTES

FOR

WOMEN

ANN HORNADAY, THE WASHINGTON POST

It packs a punch. An Oscar®- worthy
performance from Carey Mulligan.”

ANNE THOMPSON, INDIEWIRE.COM

REPORT

Lionsgate and Liberty:
A Complex Courtship

Mogul John Malone ups his stake in the Hunger Games studio
as speculation of a merger, a Starz deal (or a tax dodge) builds

By Paul Bond

A YEAR AFTER ALIBABA
Group failed to acquire
a 37 percent chunk of
Lionsgate, the studio
that opens The Hunger Games:
Mocking' ay — Part 2 on Nov. 20
again finds itself the subject of
rampant speculation that it will
merge. This time, blame John
Malone for getting Wall Street
tongues wagging.

The billionaire said Nov. 10 that
Discovery Communications and
Liberty Global, in which
he owns stakes of 29 percent
and 25 percent, respectively,
each had purchased a 3.4 per-
cent share of Lionsgate. Since
Malone has a track record for
incrementally building posi-
tions in companies until he
controls them (recent exam-
ple: Sirius XM Radio), it stands
to reason he has his sights set on
somehow acquiring Lionsgate,
where he has been a board member
since February.

He signaled as much Nov. 12
during an investors day for Liberty
Media, another company he con-
trols. “The store is always open.

... We don’t rule anything out,”
Malone said when asked if he’d like
to acquire Lionsgate.

That day, Malone said Liberty
would recapitalize into three
tracking stocks — Liberty Media
Group for its interests in Live
Nation, Time Warner and Viacom;
Liberty Braves Group, consist-
ing of the Atlanta Braves baseball
team; and Liberty Sirius Group
for its majority stake in Sirius. It
seems natural that a big slice
of Lionsgate could be folded
into the Liberty Media
portion of those holdings
or that the studio could
be acquired by Discovery,
which has a $17.4 billion
market cap (Lionsgate’s is
$5.6 billion).

But Lionsgate also would
be a nice merger partner
for Starz (market cap: $3.4 bil-
lion), the pay TV company led
by Chris Albrecht in which Malone
controls 33 percent of voting
shares. In fact, Malone got his
board seat at Lionsgate as part
of a transaction nine months ago
where he swapped some of his

Starz stock for Lionsgate shares.

FBR & Co.’s Barton Crockett fig-
ures Malone will beef up his
Lionsgate stake by trying to get
the 20 percent owned by chair-
man Mark Rachesky, thus providing
a pipeline of content for Discovery,
Starz and other Liberty assets.
Lionsgate, after all, makes such
hit shows as Orange Is the New
Blaek ^^nANashville. But its film side
is less robust. “Lionsgate has a
big task ahead to replace the wind-
fall from the Hunger Games
says Steve Birenberg of Northlake
Capital Management. “Thus far,
none of the hoped-for franchise
breakouts have clicked, the latest
miss being The Last Witch Hunter T
On Nov. 9, Lionsgate reported
a $7.2 million write-down on the
Vin Diesel thriller.

Some observers believe Malone
would like to use Lionsgate’s sta-
tus as a company based in Canada
to cut his tax bill elsewhere,
much like Liberty Global became
a U.K. company by acquiring
Virgin Media. “A lot of investors are
expecting an inversion will hap-
pen sooner rather than later and

Starz will travel the same path
that Liberty Global traveled,” says
tax expert Robert Willen.

Morgan Stanley’s Benjamin
Swinburne thinks Malone might
begin next year to transform
Starz into a Canadian company
through a deal with Lionsgate,
thus boosting profit at Starz via a
lower tax rate. Starz is the quicker
solution since there is an agree-
ment stipulating that Discovery
and Liberty Global, together,
not purchase more than 18.5 per-
cent of Lionsgate through
November 2020, says Swinburne.

An easy solution, therefore,
is for Malone to arrange for
Lionsgate to purchase Starz and
keep the combined company
in Canada, says Eric Wold of B.
Riley & Co. And Lionsgate
under CEO Jon Feltheimer isn’t
averse to acquisitions. On
Nov. 12, it paid about $200 mil-
lion for a majority stake in
Craig Piligian’s Pilgrim Studios,
which produces unscripted
fare. Wrote Wold after the Pilgrim
deal, “Lionsgate is an acquirer,
not a target (for now).” UM

KURT SUTTER: WHY I’M CANCELING MY OWN SHOW

T he audience of the bastard executioner has spoken, and
unfortunately, the word is, “Meh.”

So reads the ad creator Kurt Sutter took out in this magazine
(see page 61) and others to announce the cancellation of his FX series.

The unorthodox move, made with FX Networks CEO John Landgraf,
comes as the ambitious 14th century period drama lost more than
half of its audience through its first six weeks, fallingfrom 4 million
weekly viewers for its Sept. 15 premiere to just 1.9 million for episode
six. The series wrapped its season Nov. 17.

“It’s not like it had a chance, and I said, ‘Let’s not take it,’ ” says Sutter,

55, whose previous show. Sons of Anarchy, ended its run in December
as FX’s most watched series. The timing and delivery of Bastard’s cancel-
lation news fell to the outspoken showrunner, who was adamant everybody
involved not be strung along. Sutter pre-empted the ad with a heartfelt
email to the Wales-based cast and crew, whom he says remained committed

Says Sutter, “You
want to feel at least
you took a risk.”

and enthusiastic even as the ratings sputtered and he’d fallen behind on scripts.
“It’s fantastic to get a good review [or] an award, but the only thing that matters,
really, is numbers,” says Sutter, adding: “I’m not the guy sitting in my ivory
tower spitting shit out and not caring. ... I don’twantto write something
that nobody’s f— ing watching.” Sutter hasn’t done much second-
guessing, though he wonders whether his latest series’ mythology
was too dense. Other challenges: an unknown cast, led by Aussie Lee
Jones, and lengthy episode run times.

Already, Sutter is thinking about his next act. He’s taking meetings
about an early film script. Delivering Gen, a love story between a junkie
and a hit man; and he’s hiring a writer for his Sons’ Mayans spinoff for FX
and 20th TV, where he has a massive three-year deal. And upon wrapping
Bastard, Sutter took the train from Londonto Venice, where he wrote a draft of his
next TV idea. He’s staying mum on details but reveals with a laugh, “It’s contempo-
rary ... and there are no horses involved.” — lacey rose

30 I THE HOLLYWOOD REPORTER | 11.27.15

YOUR CONSIDERATION
IN ALL CATEGORIES

INCLUDING

BEST ACTRESS
IN A LEADING ROLE

Cate Blanchett

BEST ACTRESS
IN A SUPPORTING ROLE

Rooney Mara, Sarah Paulson

BEST ACTOR
IN A SUPPORTING ROLE

Kyle Chandler, Jake Lacy

VANITY FAIR

"CATE BLANCHETT AND
ROONEY MARA ARE FABULOUS,

each giving exquisitely calibrated performances."

Richard Lawson

K^UagStooe.

"CATE BLANCHETT DELIVERS
A MASTER CLASS IN ACTING."

Peter Travers

Sbr ^VUl j]ork Simrs

"EXQUISITELY ACTED."

Manohia Dargis

DE ADLI^N JIj

"ROONEY MARA IS A REVELATION.

She is touching and unforgettable in a
complex and extraordinary performance."

Pete Hammond

I London ]

CATE BLANCHETT AND
ROONEY MARA SHINE.

Gestures, looks and touches carry enormous v/eight,
and both women invite microscopic readings of their
every glance and movement."

Dave Calhoun

Tmc Wdnstcin Company

REPORT

6th Anniversary Flashback

Weekend Numbers

DOMESTIC

1. Spectre sony

33.7 129® 1 152.6 413.1 | 542.1

2. The Peanuts Movie fox

24 I 82.3® I 2.3^^ 7.9 | 90.2

3. Love the Coopers lionsgate

8.3 8.3^^^ : N/A N/A i 8.3

As the only comedy amid
a glut of adult dramas,
the holiday film fared
better than expected
thanks to older females.
More than 80 percent
of the opening-weekend
audience was over age 25.

4. The Martian fox

6.7 207.4P>| 5.8 ” 271 1 478.4

5. The 33 WARNER BROS.

5.8 5.8<> I N/A 12.7 I 18.5

The Chilean miner drama
is the latest Warners
title to lag, though Alcon
financed the $26 million
film and paid for
marketing. The good
news: It earned an
A- CinemaScore.

6. Goosebumps sony

4.6 1 73.5® [ 2.4*« 29.7

1 103.2

7. Bridge of Spies disney/eox
4.3 61.7® 1.3=^ 19.3

1 8’

8. Prem Ratan Dhan Payo eox
2.4 2.8™ 1 30.1’ 30.1

) 32.9

^ ^

The drama scored the top
opening to date for a
Bollywood title in India
($26.5 million), the U.K.
($1.4 million) and the UAE
($1.5 million) and
surprisingly cracked the
top 10 in the U.S.

9. Hotel Transylvania 2 sony

2.3 165.2®! 8.9^^ 252.6 | 417.8

10. The Last Witch Hunter LIONSGATE

1.5 26.T* [ 5.2” 70 | 96.1

11. My All American aviron

1.37 1.37” I N/A N/A | 1.37

12. Spotlight OPEN ROAD

1.35 ^ 1.8” [ N/A I N/A | 1.8

13. The Intern warner bros.

1.2 73.3» I N/A 109.3 | 182.6

14. Burnt WEINSTEIN

1.1 , 12.7» [ N/A ; 13.2 [ 25.9

15. Suffragette eocus

1 2.6«> I N/A 11.3 I 13.9

Source: Rentrak; box-office estimates in $ millions
( ) Weekends in release; * Territories

My Twitter Feed Was a TV Show

In 2010, THR noted that tweets were being turned into television, but then came CBS’
sitcom Shit My Dad Says, whose creator now fondly recalls the flop that killed the trend

By Justin Halpern

I N 2009, WHEN I SOLD MY
Shit My Dad Says Twitter feed
to CBS, the most common
response was, “They bought
a Twitter feed? Hollywood
is completely out of anything
resembling an original idea.”
(The second most common was,
“Fuck you.” There was a ran-
dom guy who just tweeted me
“fuck you” every day for a year,
the longest relationship iVe had
aside from my wife.) If Fm
being honest, I would have agreed
with all of the above if it hadn’t
been my Twitter feed.

Now that I’ve worked as a TV
writer for six years. I’ve come to
realize why networks were eager
to buy my feed. Writers and
broadcast networks have a spe-
cific relationship. Think of
them as a middle-aged married
couple who has sex once a
week, mostly in the missionary
position, then rolls over and
cruises on their iPads. Both par-
ties might like to try something
new, but nobody wants to make
a move that ends up going so
badly that you can’t look at each
other in the morning.

But then the broadcast net-
works see writers and cable
networks fucking in all kinds
of crazy, nasty ways, and the
broadcast networks think, “You
know, I don’t want to have sex

like that, but I would be inter-
ested in spicing it up a bit. Maybe
next time we have sex. I’d like
to try having a finger stuck up
my asshole.” And in 2009, with
Twitter starting to burst out. Shit
My Dad Says was that finger.

If you remember. Shit My Dad
Says was not a very good TV
show. The blame lies mostly on
me, because when you’re trying
something a little kinky, you have
to have confidence in what you’re
doing, otherwise it just ends with
everyone going, “What if we just
went to bed?”

After the failure of the show,
many of the Twitter feeds that
had been bought that pilot

season died. And during the next
few years, Twitter-to-TV pilot
purchases went away, but Twitter
did not. It became a great place
to find talented writers and per-
formers like Megan Amram, Jen
Statsky and Rob Delaney. So the
Shit My Dad Says show may
have ruined one sexual maneu-
ver, but there are plenty of
people on Twitter who have ably
done all sorts of dirty shit with
the networks that worked out well
for everyone.

Justin Halpern is the author of
two New York Times best-selling
books and a TV writer hoping for
a show that gets a second season.

I^^DyWerGoldRush

«^fced$l((ep,e«n

^ tkinitl MiUfr

_Wl

/•** imfci lu

*^*<n*«,

•i«l

bnmuar I

Halpern’s Twitter
feed joined Dear
Girls Above Me and
Shh ... Don’t Tell
Steve as TV fodder.
Only Shit made it on

■l4>

LEO VS. LEO

Leo’s Still Waiting for His Oscar

POOR LEONARDO DICAPRIO? IN 2010, THE ACTOR HAD TWO
splashy performances, in Shutter Island and Inception, prompting
THR to speculate in its first magazine whether he would compete
against himself for an Oscar nomination. Neither ended up deliver-
ing a nom, much less his first win. Now, five years later, he’s got five
nominations (including for 2013’s The Wolf of Wall Street), and he’s
back as a contender for The Revenant. Is this finally his year?

Turns Out No One Wanted
to Buy Designer 3D Glasses

THERE’S A LIMIT TO HOW MUCH FANS OF 3D MOVIES CAN BE
upsold. In THR’s first issue, tech specialist Carolyn Giardina wrote
about chic new shades offered by top designers Gucci and Calvin
Klein for viewing the immersive format. Glassware “is something
people like to personalize,” touted DreamWorks Animation’s
Jeffrey Katzenberg, who helped test Oakley’s offering. Since then,
Gucci has discontinued the $225 eyewear, but several small com-
panies still produce styled 3D glasses for much lower prices ($30).

3^GlassesGoChlc

32 I THE HOLLYWOOD REPORTER | 11.27.15

OYSTER PERPETUAL DATEJUST LADY 31

GEARYS

Rodeo Drive Westfield Century City Beverly Drive

310^7-4200 31&«87-4100 310-273-4741

ROLEX BOUTIQUE

ROLEX * OYSTER PERPETUAL AND DATEJUST ARE ® TRADEMARKS.

/Ae REPORT

For your consideration in all categories including

Best Actress

Blythe Danner

“Great performances
require great roles.

Now after 43 years, Blythe Danner has gotten
the opportunity to show what she can do.

She is simply jaw-dropping,
just wonderful ”

MICK LASALLE, SAN FRANCSICO CHRONICLE

www.BleeckerStreetGujld5.com sru_

FEINBCRG^

IfORECAST]

Even the Governors Awards becomes
a major campaign stop as contenders
glad-handed — and solicited celebrity
endorsements in between ByscottPeinberg

BEST PICTURE

Netflix rounded up Jake Gyllenhaal,
Kerry Washington and Gus Van Sant as
hosts of a Nov. 13 screening in L.A., while
Anna Wintour, Edward Norton and Ben
Stiller did the honors Nov. 16 in New York.

Adam McKay’s adaptation of Michael
Lewis’ best-seller about the mortgage
meltdown premiered Nov. 12 at API Pest to a
rousing reception. But while many found
it entertaining, others thought it confusing.

BEST SUPPORTING ACTOR

Sicario

The two-time Oscar nominee was toasted
at a Nov. 10 Jerry Bruckheimer screening
and a Nov. 13 lunch at Craig’s before making
an appearance at the Governors Awards.

BEST ACTOR

Concussion

Smith’s two previous Oscar noms came
for biopics, and his performance as a real-
life doctor who took on the NPL was
warmly received at its API Pest premiere.

BEST DOCUMENTARY FEATURE

Taking time away from finishing Joy,

David O. Russell hosted a Nov. 15 reception
for Crystal Moselle’s doc about a family
who rarely left its New York apartment — for
which the family itself was on hand.

BEST FDREIGN-IANGUAGE FEATURE

The Academy disqualified Hassan Nazer’s

Dari-language film, about an Afghan
woman who wants children, because of too
much English dialogue, and it’s too late
for Afghanistan to submit a second choice.

34 I THE HOLLYWOOD REPORTER | 11.27.15

"ONE OF THE BEST PERFORMANCES OF THE YEAR."

Jjobb Ncsh

L®>IDS SOMETHING UNEXPECTED AND REAL
TO THE ROLE. UNDENIABLE FEARLESSNESS TO HER LEAD TURN.'

BEST ACTRESS SARAH SILVERMAN

I SMILE
BACK

WINNERi rWINNER

CHICAGO INTERNATIONAL FILM FESTIVAL

SARAH SILVERMAN

" BREAKTHROUGH PERFORMANCE AWARD

TORONTO

IN t K 1 r W I IN

)NAL FILM FESTIVAL I I MILL VALLEY FI LIV

LVERMAN I I SARAH SI

IFORMANCE AWARD ^ BREAKTHROUGH PE

OFFICIAL SELECTION J^(

M SUNDANCE ft Ml

FILM FESTIVAL

MILL VALLEY FILM FESTIVAL AWARD

SARAH SILVERMAN

BREAKTHROUGH PERFORMANCE AWARD "

DIGGING SO DEEP
INTO HER CHARACTER
THAT WE CAN FEEL
HER NERVE ENDINGS,
IS LIKE NOTHING
WE'VE SEEN BEFORE.
NO SHOWING OFF;
SHE JUST IS.
THIS IS ACTING OF THE
HIGHEST CAUBER.'
‘R^lii^Stone

DEAUVILLE ,

' FILLS THE PICTURE TO ITS

VERY CORNERS. SHE SHOWS US A PERSON

WE'VE NEVER SEEN BEFORE."

(VOICE

Fer mere on thes« extwrdinary movlas^ vlsii: OroadGreeirGuiiG^ com

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

anr?

' BEST PERFORM A\CE BY AX ACTRESS

/A 1 MOTIOX PUTl RE (COMEDY OR Ml SICiE)

Pairirifi Clarkson

REST PERFORMANCE BY AN ACTOR

/.V.l MOTIOX PKTl RE (COMEDY OR Ml SICAL)

Rea Kingsley

NEWYORKOBSERVER

/l/i exlmoniiimry, movinfi and funny Jilm. lUiplumns
fierforntnnres by Patricia (larkson and lien kinfisley\^

gork gimeg

fXtnonfi I he channs of "I A>amin^ to Dniv'an* t!w dptaiUnL lin*ddn
fM*rfonnanci*R of its stars, Patricia ( 'iarksfpn and Ii4*n KinpiUy,

Ms, ( Inrksikn, iritli her Chrsitin* cat smile luid tirinkling i^vs, ^ JT m

nnm>ys the nnstenmis allnn* of a sensual iniinan inth siH'n^ts.

Mr. kinfi^e}‘s fumetniting hnsriM^vd fSHZ4> mn finfi*rt eivryihinff.

Cos Anfldes games

undeome finnvtenp escape. With Patricia Clarkson and
Hen kliifj^sley behind the wheel, it makes fora lovely excursion.

BROADOREEN : For mofe on these extraordinary movies, please visit: BroadGreenGuilds.com

Learning

Drive

REPORT

7 DAYS OF DEALS

^KA-CHING!

WHO’S INKING*
ON THE DOTTED LINE
THIS WEEK

NIELSEN’S NRG SALE:
HOLLYWOOD AND
POLITICS SYNERGY’

THE FIRM THAT
studios rely on for
box-office projections,
marketing data and
advice in choosing
the most lucrative
date to open a movie is about to
expand beyond Hollywood and
into politics.

Nielsen revealed Nov. 16 that
it will sell National Research
Group to a new investment firm
called The Stagwell Group,
formed in December by political
analyst and former Microsoft
chief strategy officer Mark Penn.
Backed primarily by former
Microsoft CEO and Los Angeles
Clippers owner Steve Ballmer,
the fund has closed on $250 mil-
lion in investment capital to
acquire companies specializing
in research, data analytics and
public relations.

Penn is a former CEO of PR
firm Burson-Marsteller and

co-founder of polling company
Penn Schoen Berland, and his
list of famous clients includes
President Bill Clinton and former
British Prime Minister Tony Blair.
But he is best known as the cre-
ator of Hillary Clinton’s “3 a.m.”
campaign ad, which asked voters
in 2008 if they’d prefer if she
or then-candidate Barack Obama
answer the White House phone
during a crisis.

Penn tells THR he intends to
expand NRG into other arenas,
specifically elections and public
policy. “I’ve always felt there was
a synergy between Hollywood

and politics,” he says. “The
commonality between a movie
opening and a presidential elec-
tion is, if you don’t get it right,
there’s no do-over.”

He sees synergies, in fact,
with SKD Knickerbocker, a
Democratic PR firm acquired
by Stagwell in October for as
much as $75 million that employs
former RIAA head Hilary Rosen
and Anita Dunn, former White
House communications director
for President Obama. NRG and
SKD Knickerbocker, though, will
remain independent companies
housed at Stagwell, and NRG
will be nonpartisan whenever it
decides to delve into politics.

“The power of accurate
research is more important in
Hollywood and politics than in
other industries,” says Penn.
“And today, the predictive ability
is higher in movies than with
presidential candidates.”

That might be true, but movie
tracking has been scrutinized
recently as traditional services
have failed to predict massive
hits like Jurassic World. NRG
has been tweaking its methods,
annually conducting more than

1 million survey interviews
online and via mobile phones
to gauge consumer interest
and awareness of upcoming
releases. In addition to expand-
ing into politics and other
areas, Penn intends to make NRG
more digital and global. He
has tapped market research vet-
eran and NRG consultant
Howard Ballon as interim CEO.
NRG had about a dozen layoffs
during the five -month period
it was being shopped, but Penn
says he has no plans to cut
further the 100-person staff in
its L.A. and London offices.

Stagwell’s acquisition of
NRG marks the latest in a
trend of consolidation among
Hollywood’s go-to market
research firms, taking place less
than two months after com-
Score said it would merge with
Rentrak and a year after RL J
Equity Partners said it would
buy MarketCast, a competitor
to NRG.

“It’s not a big marketplace, but
it’s an important one,” says Penn.
“After all the consolidation, NRG
will be one of the few remaining
big players.” — paul bond

Rights Available!

Hot new books with Hollywood appeal

BY ANDY LEWIS AND REBECCA FORD

My Father^s Wives

(William Morrow)

BY Mike Greenberg
AGENCY CAA
The ESPN radio host’s
second novel (his first was a
New York Times best-seller)
is a dramedy about a man
coming to terms with his relationship with
his late father, a larger-than-life senator, by
visiting each of his five ex-wives.

The Ministry ofUngentlemanly
Warfare (John Murray)

BY Giles Milton

AGENT Rob Kraitt (Casarotto Ramsay)

Newly released documents spurred interest
(Paramount recently acquired a similar-
named title) in this group of eccentric World
War II saboteurs handpicked by Winston
Churchill to fight behind enemy lines.

36 I THE HOLLYWOOD REPORTER I 11.27.15

Casey Affleck Finds Familiar
Star for Directing Vehicle

FRIENDS AND BROTHERS-IN-LAW
Casey Affleck and Joaquin Phoenix

are going outlaw, teaming for a period
Western Far Bright Star. Affleck,

40, married to Phoenix’s sister Summer
Phoenix, will make his narrative directo-
rial debut, and Phoenix, 41, will star
in the drama that adapts the 2009 novel
by Robert Olmstead. Affleck (WME,
Ziffren Brittenham) also is producing the
movie with John Powers Middleton
{The Lego Movie, Good
Universe’s Oldboy
remake), making it the
first effort for their banner
The Affieck/Middleton
Project, launched in
June 2014. Far Bright Star
is set in 1916 and tells of
an aging cavalryman,
to be played by Phoenix
(WME, Sloane Offer), who
is leading a ragtag group

of young men on a hunt for the legend-
ary Mexican revolutionary Pancho Villa.
When the group is attacked and most
of his charges are killed, the man is left
struggling for survival in the desert.
Damien Ober (WME, Echo Lake, Mark
Temple) wrote the screenplay. “This is a
beautifully written story on pain
and loss and the drive and resilience
one finds within themselves to continue
through the day,” Affleck tells THR.

The project will reunite
Affleck and Phoenix
for the first time since
2010’s Fm Still Here,
the faux documentary
Affleck made about
Phoenix’s apparent
transition to become a
rapper. Affleck next stars
in Disney’s live-action
Coast Guard thriller The
Finest Hours. — borys kit

»»FILM

Julianne Moore (CAA, the
U.K.’s United, Management
360, Edelstein Laird) will
star in the children’s book
adaptation Wonderstruck,
with Todd Haynes directing.

Tracy Morgan (CAA,

Hansen Jacobson) will play
Redd Foxx in Lee Daniels’
biopic of Richard Pryor for The
Weinstein Co.

Cate Blanchett (CAA)

is in talks to star in Richard
Linklater’s adaptation
of the novel Where’d You Go,
Bernadette.

5 ^

FROM EXECUTIVE PRODUCERS

BRIAN GRAZER & RON HOWARD

BREAKTHROUSH

"INSPIRING"

•Channel Guide Magazine

"UNIQUELY FUN"

•Popular Science

"FASCINATING"

•Los Angeles Magazine

"COMPELLING"

•Blastr

"IMPRESSIVE"

•GoldDerby

"INNOVATIVE"

■Cleveland Plain Dealer

"AMBITIOUS...EXTRAORDINARILY DETAILED"

•The Wall Street Journal

"SCIENCE GEEKS, REJOICE"

•Mashable

-1 • •

NEW EPISODES

SUNDAYS 9/8c

RETURNS NOVEMBER 29

DEVELOPED BY

□

NATIONAL

GEOGRAPHIC

CHANNEL

natgeotv.com/breakthrough

02015 NGC Network US. UC. NATIONAL GEOGRAPHIC CHANNEL ami the Yeilow Border dtsigA are trademarks of Natiooai Geoyrapkic Society; vsed with pcrmisston.

REPORT

The Big Number

Value ofHulu if the streaming serviee eloses
deal to sell part ownership to Time Warner,
The Wall Street Journal reported Nov. 12.

/HfeS

The Game of
Thrones and
Aquaman star
will lead the
ArdiUidi Frontier
for Netflix.

Doug Liman (CAA, Weintraub
Tobin) is nearing a deal to
direct Channing Tatum in Fox’s
X-Men spinoff Gamib/t.

Reese Witherspoon (CAA,
LBI, Hansen Jacobson),

Seth MacFarlane (WME,
JackowayTyerman), Scarlett
Johansson (CAA, LBI, Morris
Yorn) and John C. Reilly
(WME, Framework, Gendler
& Kelly) will join Matthew
McConaughey as they lend
voices to the animated comedy
S/ng for Universal.

David Frankel (WME,
Anonymous) is in talks to
direct the Will Smith drama
Collateral Beauty for New Line.

Gina Rodriguez (APA,
Primary Wave, Jackoway
Tyerman) will join Natalie
Portman in the thriller

Annihilation for Ex Machina
director Alex Garland.

Patricia Arquette (Gersh,

3 Arts) will voice a hippie
mom in Toy Story 4.

Judy Greer (CAA, Principato
Young, Felker Toczek) will
direct Common and Allison
Janney in the dramedy A
Happening of Monumental
Proportions.

Pitch Pe/fect writer Kay Cannon
(WME, Hansen Jacobson)
will direct The Pact, with Seth
Rogen producing.

Jane Kaczmarek (ICM,

Green light) will join Dax
Shepard and Michael Pena in
Warner Bros.’ CHiPs.

X- Men’s Kodi Smit-McPhee
(ICM, Australia’s Active

38 I THE HOLLYWOOD REPORTER | 11.27.15

Artists, MGMT, Sloane Offer)

will star in the Ice Age epic The
Solutrean for Studio 8.

Orlando Bloom (CAA,
the U.K.’s Independent,
Brillstein, Felker Toczek) will
star in the church sex-abuse
drama Romans.

Lauren Graham (ICM,

John Carrabino, Hansen
Jacobson), Rob Riggle (WME,
Principato Young, Sloane
Offer) and Adam Pally (UTA,

3 Arts, Del Shaw) have joined
CBS Films’ children’s book
adaptation Middle School.

Sony will adapt animator
Marcus Alqueres’ short The
Flying Man into a feature.

Wrath of the Titans’ David
Leslie Johnson (Paradigm,
Behr Abramson) will work
on the script for Warner
Bros.’ Aquaman.

Alchemy will release the
Brie Larson thriller Free Fire
in the U.S.

AMBI will remake Memento.

»»TELEVISION

Joel Silver has signed a
multiyear deal with Lionsgate
and will produce the vampire
drama pilot Bathory.

War of the Worlds’ Josh
Friedman (UTA, Jackoway
Tyerman) will develop a
Snowpiercer adaptation with
Prison Break’s Marty Adelstein.

Jeffrey Dean Morgan
(UTA, Rob Gomez, Bloom
Hergott) will play a villain
on The Walking Dead.

Missi Pyle (UTA, McKeon
Myones, Stone Meyer) has

joined TV Land’s The Soul Man
for its final season.

Shout Factory will
develop a Mystery Science
Theater reboot.

HBO has signed a distribution
deal for Europe with Sky
through 2020.

CBS will develop a family
comedy with Entourage’s

Doug Ellin and Sex and the
C/^s Jenny Bicks. ... Fox
will develop the hip-hop
comedy White Jeff and the
police corruption drama
Crooked. ... NBC will develop
the semiautobiographical
family comedy Vlad with
comedian Vladimir Caamano
and Undateabie’s Bill
Lawrence and Adam Sztykiel.
... FX has renewed American
Horror Story. ... TNT has
renewed Murder in the First.

... Bravo has ordered a
Real Housewives series set
in Potomac, Md., and Dallas.

... Disney Channel has
ordered to pilot a siblings
comedy from Lizzie McGuire’s
Terri Minsky.

»»DIGITAL

Jason Momoa (APA, LINK,
Edelstein Laird) and
Landon Liboiron (WME,
Principato Young, Gang Tyre)

will star in and San Andreas’
Brad Peyton will direct and
produce the period drama
Front/er for Netflix.

Pandora will acquire parts of
bankrupt streaming service
Rdiofor$75 million.

»»REAL ESTATE

Marvel Studios president
Kevin Feige (Hilton &

Hyland) has sold his home
in Pacific Palisades for
$3.72 million.

Steve Martin (Sibarth)

has sold his Caribbean
island property for an
undisclosed price after
listing it for $7.78 million.

LeBron James has bought
a 9,440-square-foot home in
Brentwood for $21 million.

REP SHEET

A Kate Beckinsale has
returned to UTA after
six months at CAA.

The Craft’s Fairuza
Balk, now recurring
on Ray Donovan, has
signed with APA.

TNT and TBS
have signed with
PMK*BNC to handle
publicity for the 2016
SAG Awards.

Mr. Robot creator
Sam Esmail has
signed with CAA.

NEXT BIG THING

Name

Johnny Pemberton

Reps

CAA, Principato
Young, Ginsburg
Daniels

Why He Matters

He’ll star opposite
Jason Sudeikis’ voice
(as an animated alien)
on the Fox comedy
series Son of Zorn.

z C5
m <
O Z

I ^

a: Z

0 Zi

C5 C5

1 z

"A STUNNING PIECE OF ART.

IT IS UNLIKE ANYTHING YOU HAVE
SEEN BEFORE. GEZA ROHRIG IS
SIMPLY A REVELATION. IT IS BOTH
THE POWER OF HISTORY AND THE
REMARKABLE IMPACT OF CINEMA
IN ONE COMPLETE PACKAGE.

IT'S AN ESSENTIAL FILM."

-Brian Tallerico, ROGEREBERT.COM

SON OF SAui?

FOR SCREENING INFO VISITWWW.SONYCLASSICSAWARDS.COM

WINNER

GRAND PRIX
CANNES

FILM FESTIVAL

FOR YOUR CONSIDERATION

IN ALL CATEGORIES INCLUDING

BEST PICTURE

BEST ACTOR Geza Rohrig
BEST DIRECTOR Laszio Nemes

SONY PICTURES CLASSICS'

THE MAYFLOWER IS COMING

_ SMNTS

zy^ QZ :"

STRXNGERS

TWO-NIGHT MOtflE EVENUv V

SUNDAY 9/8c - ’ •

M n NATIONAL ’ .•' .

I I GEOGRAPHIC' >
^LJ CHANNEL ^ W.-

-A "'V'*'

SaintsAndStrangers.com ^

•s,. t.

/Ae REPORT

YES, I
DID SAY
THAT!

A look at who’s saying
what in entertainment

Compiled by Andy Lewis and Brian Porreca

“The fact that
some people thought
I was lip syncing on
SNL is an awesome
compliment!”

LORDE

The singer, responding on Twitter to
backlash that she was not singing
live during her Nov. 14 Saturday Night
Live performance.

‘ “It sickens me to
think ... a photo of
myself with my nieces
is suggesting mat
I’m asking for it.’ ”

ARIEL WINTER

The Modern Family actress, responding
on Instagram after a photo she posted
of herself in a bikini with her two young
nieces produced numerous sexually
explicit and hostile comments.

' “We don’t feel
like Netflix is the
Antichrist.”

LESLIE MOONVES

The CBS Corp. chief, discounting
the idea that he might hold content
back from the streaming service.

** “After the many
and necessary
moments of silence,
I’d like to offer you
a moment of premium-
cable profanity.”

“Democratic debate
almost too painful to
watch. Pathetic group
talking nonsense for
two hours. Is this the
best Dems can do?”

“It’s easier to be
president of the
United States as a
black person than
be the head of the
studio or head of a
network.”

“We know people
don’t have sex like
that. ... I mean, I threw
my neck out.”

VIOLA DAVIS

The Howto Get Away With Murder
actress, joking about how unrealistic
the show’s sex scenes are.

JOHN OLIVER

The Last Week Tonight host, responding
to the Paris terrorist attacks that killed more
than 130 people. He then unleashed an
expletive-filled tirade against the perpetrators,
calling them “gigantic f — ing assholes.
Unconscionable, flaming assholes, possibly
working with other f— ing assholes.”

“It’s a hard three
letters to absorb.”

CHARLIE SHEEN

The actor, confirming that he had
been diagnosed as HIV-positive four
years ago, adding that he had paid
“in the millions” in “shakedowns” to
keep the information secret.

RUPERT MURDOCH

The News Corp executive chairman,
reacting on Twitter to the Nov. 14
Democratic debate on CBS.

SPIKE LEE

The Chi-Raq director, urging the Academy
and Hollywood to work harder at
diversity while accepting an Honorary
Oscar at the Governors Awards.

'IKE A SWIG Of AMY SCHUMER. SHE'S COMIC DYNAMITE.

A COMIC FORCE OF NATURE.

SCHUMER'S COMEDY LEAVES MARKS. CAN SHE RIP COMEDY A
NEW ONE AND MAKE US LAUGH TILL IT HURTS? HELL, YEAH."

- PETER TRAVERS. ROLLING STONE

"AMY SCHUMER IS MY KIND OF SUPERHERO. THINK THAT SHE'S NOT THIN ENOUGH OR PRETTY ENOUGH?
SHE INTERCEPTS HATEFUL SLURS LIKE THOSE AND TURNS THEM INTO FEROCIOUS COMEDY GOLD THAT
EXPOSES CHAUVINISM AS THE ABSURDITY IT IS...SHE'S KILLING IT, JOKE AFTER JOKE."

- HANOHLA HARGIS, THE NEW YORK TIMES

. FOI nyi MtlSIDEIATIOII

REST PICTURE n»dUDD APATOW,,. RARRY MENDELp,.

REST ACTRESS AMY SCHUMER

TRAINWRECK

WRITTEN BY AMY SCHUMER DIRECTED BY JUDD APATOW

universalpicturesawards.com

univcr&al

About Town

HOLLYWOOD HITS THE RED CARPET

Howard(frontUa4yaRrcha"son^

1 Honorary Oscar winner Rowlands
(with her husband, Robert Forrest)
said upon receiving the award: “You
know what’s wonderful about being
an actress? You don’t live just one
life — yours — you live many lives.”

2 From left: Lily Tomlin, Paul Weitz
and MarisaTomei.

3 Gugu Mbatha-Raw (in Jason Wu).

4 Boone Isaacs (with Idris Elba) said
of diversity in Hollywood: “When
it comes to fair and equal representa-
tion, words are not enough. We
have a unique opportunity to [take
action] now.”

5 Helen Mirren and Bryan Cranston
hit the carpet at the Ray Dolby
Ballroom at Hollywood & Highland.

6 Academy CEO Dawn Hudson (left)
and Meryl Streep.

7 From left: Quentin Tarantino,

Kurt Russell, Johnny Depp and
Amber Heard at the event, where
Zooey Deschanel kicked off the
evening’s series of tributes by singing
“Tammy,” a hit in 1957 when it was
introduced in Reynolds’ film Tammy
and the Bachelor.

Governors Awards Hollywood, Nov. 14

A cademy president cheryl
Boone Isaacs kicked oiF the 7th
Governors Awards with a show of
support for France after the dev-
astating terrorist attacks in Paris on Nov. 13.
“All of us here stand in solidarity [with] the
French people,” she said. “We mourn those
who died. We send our deepest affection to
our brothers and sisters in France.” Attendees
— many of whom made peace signs on the
red carpet — included Daniel Craig, Michael Caine
and Jane Fonda, and saw Spike Lee and Gena
Rowlands presented with honorary achieve-
ment Oscars. Debbie Reynolds was recognized
for her philanthropy with the Jean Hersholt
Humanitarian Award. Recovering from surgery
and unable to attend, Reynolds provided
a brief audio acceptance: “You couldn’t
be more amazed that a little girl from
Burbank even came near this sort of acco-
lade.” — GREGG KILDAY

42 I the HOLLYWOOD REPORTER | 11.27.15

the ^

R0LUH6 STOHt

consioeR

this

“Bemcto OdJrl'SSSS’

SJn^takevoureves

HE\N

ftCTOR

r »

.4 \!

.rK »»« !:! 211 S.?~-
»tO^* Uot» 9 "’**’“*"“^^

About Town

HOLLYWOOD HITS THE RED CARPET

WU’s Beauty Dinner

West Hollywood, Nov. 11

1 Makeup artists Kate Lee (left; she works
with Anne Hathaway) and Pati Du broff (Dakota
Johnson) at The London hotel event. Dubroff
says of her colleagues: “There’s this sisterhood
because we really all do understand what our
job entails.”

2 Parents-to-be Chrissy Teigen and husband
John Legend, who surprised her at the event.

3 From left: Khloe Kardashian, Malika Haqq,
Kardashian’s hairstylist Jen Atkin and Teigen
who is four months pregnant.

4 From left: makeup artist and sponsor Laura
Mercier, hairstylist Serge Normant (Julia
Roberts), actress Selma Blair and her makeup
artist Rachel Goodwin.

5 Hairstylist Cervando Maldonado (Kirsten
Dunst) and colorist Tracey Cunningham
(Drew Barrymore).

6 Kiernan Shipka (in Valentino).

7 From left, the Streicher sisters: brow
expert Kristie, makeup artist Jenn and hair
guru Ashley.

8 Makeup artist Sabrina Bedrani (Felicity
Jones) and hairstylist Adir Abergel (Reese
Witherspoon).

9 Hairstylist Ben Skervin with his client
Cat Deeley.

44 THE HOLLYWOOD REPORTER 11.27.15

FOR

YOUR CONSIDERATION
IN ALL CATEGORIES INCLUDING

BEST ACTOR IN A LEADING ROLE

SAMUEL L. JACKSON

BEST ACTRESS IN A SUPPORTING ROLE

JENNIFER JASON LEIGH

BEST ACTOR IN A SUPPORTING ROLE

KURT RUSSELL, WALTON COGGINS, UEMIAN BICHIR, TIM ROTH, MICHAEL MAOSEN, BRUCE BERN

HATEFUL

EIGHT

THE 8TH FILM BYQUENTIN TARANTINO

♦ f

Tnr Wlins»e.is ' ^^MPAN^

WWW.TWCGUILDS.COM

About Town

HOLLYWOOD HITS THE RED CARPET

THU's Mentors Dinner

Beverly Hills, Nov. 10

industry women), presented by Nlt-I-Pnl

1 NBCUniversal Cable
Entertainment Group
executive vp business
operations Beth
Roberts (left) and WME’s
Nancy Josephson.

2 From left: Shelter PR’s
CaraTripicchio and
her mentee Vandalena
Mahoney, Net-a- Porter
vp global buying Sarah
Rutson and Guggenheim
Media Entertainment
Group president and chief
creative officer Janice
Min at the second annual
dinner, where Rutson
surprised Mahoney
with a $25,000 scholar-
ship toward her college
tuition on behalf of the
company.

3 Gersh’s Jennifer Craig
(left) and producer Sue
Naegle atSpago.

4 From left: Sony
Pictures TV executive vp
U.S. reality and
syndicated programming
Holly Jacobs, 44 Blue
Productions president
Stephanie Drachkovitch
and Lionsgate TV Group
president Sandra Stern.

Jhe Hunger Bernes: Mockingjey -Pert 2

Los Angeles, Nov. 16

A' ■

1 From left: producer Nina
Jacobson and actors Liam
Hemsworth, Jennifer Lawrence
and Josh Hutcherson. All
interviews were canceled in the
wake of the attacks in Paris,
and Lionsgate CEO Jon Feltheimer
spoke from the stage to
express solidarity with the
citizens of France.

2 Co-stars Woody Harrelson
and Elizabeth Banks
at the Microsoft Theater.

3 The film s Sam Claflin (left)
and director Francis Lawrence

4 Castmember Natalie
Dormer (in Vivienne
Westwood) hit the carpet.

HARRY WINSTON

Harry Winston Premier 31mm

Los Angeles 310.289.0808
Beverly Hills 310.888.8880
La Jolla 858.459.2222

westime.com

About Town

RAMBLING REPORTER

By Rebecca Ford 4* Chris Gardner

Insider Dispatches From
the Governors Awards

Forget the Academy Awards: The
honorary Oscars have become
the event of the season for the
industry’s biggest talent and
execs to meet and mingle. Spotted
at the non-televised Governors
Awards on Nov. 14 at the Ray
Dolby Ballroom: a meeting of the
current and perhaps-future
James Bonds. Spectre star Daniel
Craig ran into Idris Elba, who has
long been mentioned in any Bond-
replacement discussion, at the
bar. “He came up to me, looked
me in the eyes, grabbed my face
and kissed me on the cheek,” says
Elba, who gave Craig a hard time
for talking to the media about the
Beasts of No Nation star play-
ing 007 . Elba says Craig laughed:
“They asked me if you can play
Bond. What am I going to say.?
No.?”... A new social butterfly
burst onto the awards scene: Jacob
Tremblay, the 9-year-old star
of Room. He enjoyed lots of A-list
attention; Amy Schumer helped
him tie his shoes, and Johnny Depp
adjusted his bow tie. Depp also
was seen vaping in the non-smok-
ing ballroom. ... Ava DuVernay’s

bright blue gown was a social-
media discovery: It was made
by Elvira Jude, a Nigerian designer
that the Selma director met
through Instagram. Hailing from
the same side of the continent
was the accent Wesley Snipes used
to introduce honoree Spike Lee.
Fellow presenter Samuel L. Jackson
told THR he didn’t know that
Snipes was planning that act. Will
Smith (who pulls olf a Nigerian
accent in Sony’s Concussion) was
spotted in the audience laughing
at the shtick.

Love in Awards Season

Ridley Scott is not only seeing strong
buzz and box office (at $500 mil-
lion worldwide) with The Martian,
he watched his son, Luke, tie the
knot in England in early November.
It wasn’t the only wedding
he attended this year: In June,
the 77-year-old attended his
own when he eloped with actress
Giannina Facio, 60. “No one knew;
we just went and got married,”
Scott tells THR, adding that he
wanted a small event. “If one
lot is going to come, then the whole
bloody world is going to come.”

... Brett Ratnerand his RatPac
Entertainment business partner,
billionaire James Packer, also
are shepherding their own awards-
season hopefuls {The Revenant,
Black Mass and Truth) while
celebrating a relationship. Ratner
confirms to THR that he played
matchmaker to Packer and Mariah
Carey. “Mariah is one of my best
friends. We are Aries brother and
sister because our birthdays are a

Power Dining

Redmayne did 40 sittings as Elbe for The Danish Girl.

day apart. It’s hard for me to have
best friends and not want to
introduce them,” says Ratner. He
adds that the pair are getting seri-
ous: “They’re going to be together
for a while. Luckily, James can
afford to bring her and her kids to
wherever she needs to go.”

When XTina
Hosted Hillary

Christina Aguilera threw a Nov. 4
fundraiser for Hillary Clinton

at her Beverly Hills home that
was attended by Katie Holmes,
Christina Milian and Muse singer
Matthew Bellamy — plus a slew
of Secret Service agents. But
Aguilera tells THR that the
event, which raised $1 million for
Clinton, was surprisingly tran-
quil. “There was a lot of traffic and
vendors coming and going,” says

The Voice coach, who co-hosted
with her fiance, producer Matthew
Rutler. “My sister said, T thought
today was going to be chaotic
because of all the Secret Service,
but I’ve never been here when it’s
been so peaceful.’” Aguilera has
known the Clintons for years,
performing at events for Bill
and receiving a leadership award
from Hillary in 2012. “She’s so
courageous and always bounces
back,” says Aguilera. “It’s that
strength and fighter mentality that
I can raise my own daughter to
look up to.”

Eddie Redmayne
Models Again

Capturing trans pioneer Lili Elbe’s
transition in The Danish Girl also
meant doing so on canvas. Director
Tom Hooper says he insisted on
using Gerda Wegener’s original por-
traits of Elbe “until production
designer [Eve Stewart] pointed out,
‘But they’re not Eddie Redmayne!”’
British muralist Susannah Brough
was commissioned to oversee paint-
ing sessions, in which Redmayne
re-created more than 40 poses. But
the actor won’t keep any as souve-
nirs. “I think it’d be a bit surreal to
have paintings of me in Lili guise,”
says the Oscar winner, who’d rather
own “Cerda’s real paintings of Lili,
but I think I’m behind the times. I
should have invested early!” CZZZ3

H sharing the room at Toscana: Bob Iger with Jerry

Bruckheimer and Dana Walden with Gary Newman
and Kurt Sutter. Ben Silverman also was in. ...
Straight Outta Compton director F. Gary Gray joined
UTA’s Ramses IsHak and Michael Sheresky and
attorney Nina Shaw at Mr Chow. Terry Semel, Diane
Lane, Avi Lernerwith Emanuel Nunez and Lisa
Cholodenko with Bart Walker also have been there.
... All in at once at the Palm: Stacey Snider with Brian Grazer, Bob Daly
with Dodgers adviser Ned Colletti, and Richard Lovett. ICM’s Rick Levy
also came by. ... Patrick Stewart sat a few tables away from Alex
Pettyfer at Sunset Tower. . . . Jeffrey Katzenberg took a seat at Petit Trois.
... John Burnham, Diane Keaton, Woody Allen and Soon-Yi Previn
dined at e.baldi. ... John C. Reilly ate at 25 Degrees.

The Quick Pitch Tin Vuong’s Little Sister, the
non-David LeFevre (MB Post, The Arthur J) part
of Manhattan Beach’s dining renaissance, heads
inland to downtown L.A. with an offshoot outpost
that torques its Southeast Asian-inspired but
Vietnam -anchored fare far more aggressively to
the fermented and the fiery than the original.
That means roasted monkfish with hot curry, crispy
sweetbreads with alkaline noodles and a pun-
gent beef stew heavy on marrow and tendons.
The Inside Dish That fleet of stenciled helicopters
on the walls are the U.S.-born Vuong’s nod to
the fall of Saigon. (His family fled during the war.)
523 W. 7th St. — GARY BAUM

48 I THE HOLLYWOOD REPORTER | 11.27.15

Got tips? Email RAMBLING@THR.COM.

FOR YOUR CONSIDERATION
IN ALL CATEGORIES INCLUDING

BEST SUPPORTING ACTRESS
ALICIA VIKANDER

THE

About Town

HITCHED, HATCHED, HIRED

DANISH

GIRL

“ALICIA VIKANDER CONJURES
SOMETHING DAZZLING AND
UNEXPECTED. SHE IS STUNNING
AND EXTRAORDINARY.”

CHRIS NASHAWATY, ENTERTAINMENT WEEKLY

"ALICIA VIKANDER IS THE
YEAR’S BREAKOUT STAR.”

ERIN WHITNEY, THE HUEEINGTON POST

"A CINEMATIC LANDMARK.”

PETER DEBRUGE, VARIETY

' ;•»» |..ODDisl;Cuf

MUNAFO& O’TOOLE

Melissa Munafo, a music publicist at 42West, married Paul O’Toole,
an executive story editor on ABC’s Dr. Ken, at Church of the Good
Shepherd in Beverly Hills on Oct. 24. A reception at Calamigos
Equestrian in Burbank followed.

HITCHED, HATCHED HIRED

Inside the industry’s celebrations and news

Klein and Avetisyan (in Matthew Christopher).

WEDDINGS

Arnold Klein, a digital marketing
executive at NBCUniversal, married
hairstylist Mary Avetisyan on Oct. 10
at St. Sarkis Armenian Apostolic Church
in Pasadena in front of 350 guests. The
couple, who became engaged in March
2014, will honeymoon in Punta Cana,
Dominican Republic.

ENGAGEMENTS

Oasis Media Group manager Ben
Rowe and CAA agent Audrey Gordon
became engaged on Oct. 31.

BIRTHS

UTA partner
and co-head
of TV talent
Mike Jelline
and his wife,

Maureen,
welcomed
daughter
Caroline Alexandra Jelline on
Oct. 20 at Cedars-Sinai Medical Center
in Los Angeles.

Last Week Tonight host John Oliver
and his wife, Kate Norley, welcomed
a son.

\ V ^

Caroline Alexandra Jelline

To submit, send emailto HHH@THR.COM.

Bellinda Alvarez,

The Hollywood
Reportei^s
executive director
ofTV and film,
and her husband,
screenwriter
Marty Scott,
welcomed daugh-
ter MacKenzie
Paloma Scott on Nov. 5 at Cedars-Sinai
Medical Center.

Lane Kneedler, director of
programming of API Pest, and Susan
Garbett, manager of The Theatre
at Ace Hotel, welcomed son Winston
Scar Woods on Oct. 27 at
Cedars-Sinai.

CONGRATS

Harry Potter producer David Heyman
will receive the
David 0. Selznick
Achievement
Award at the Jan. 23
Producers Guild
Awards ceremony
in Los Angeles.

Nathaniel Marston,

who played
Michael McBain on
the ABC soap opera
One Life to Live,
died Nov. 10 of injuries
suffered in a car
accident outside of Reno, Nevada.
He was 40.

Betsy Drake, a vivacious actress
who starred opposite her husband
Cary Grant in the comedies Every
Girl Should Be Married and Room for
One More, died Oct. 27 in her London
home. She was 92.

MacKenzie Paloma Scott

FOR YOUR CONSIDERATION
IN ALL CATEGORIES INCLUDING

David Geffen on Nov. 11 gave UCLA
$100 million, which will go toward the
completion of a new university- run
prep school.

El Rey Network appointed Mark
Sacher to vp research Nov. 11.

Corinne Bishop, the oldest daughter
of actor Jamie Poxx, was named Miss
Golden Globe on Nov. 17.

DEATHS

Allen Toussaint, the legendary New
Orleans pianist, songwriter, producer
and performer, died Nov. 10 of a
heart attack following a concert he
performed in Madrid. He was 77.

Rose Tobias Shaw, a casting director
who worked on the British show
The Prisoner and Martin Scorsese’s
The Last Temptation of Christ (1988)
and boosted the career of actor Pierce
Brosnan, died Oct. 27. She was 96.

Jake Bailey, a celebrity makeup
artist who worked with Katy Perry
and Selena Gomez, died from
carbon monoxide poisoning Oct. 23
in an apparent suicide. He was 37.

BEST ACTOR
EDDIE REDMAYNE

THE

DANISH

GIRL

“IN WHAT IS SURE TO BE AN
OSCAR®-NOMINATED ROLE,
EDDIE REDMAYNE EMANATES AN
EMOTIONAL URGENCY IN LILI
WITH A POTENT MIX OF PAIN
AND LONGING THAT OOZES FROM
EACH MANNERISM.”

ERIN WHITNEY, THE HUEEINGTON POST

“EDDIE REDMAYNE GIVES THE
BEST PERFORMANCE OF HIS CAREER.”

PETER DEBRUGE, VARIETY

WOrtK»*Qhms

F O C

:iii- G|

www.thr.com | THE HOLLYWOOD REPORTER | 51

i^ThuDamshCiirl

EXECUTIVE SUITE

THE BUSINESS

“If all we make is sequels, we
would become creatively bankrupt.

And yet sometimes we have to
be financially healthy,” says Catmull,
photographed Aug. 26 with
his rabbit Presto in his office on the
Pixar campus in Emeryville, Calif.

PRESIDENT, PIXAR AND WALT DISNEY ANIMATION
STUDIOS AND DISNEYTOON STUDIOS

Ed Catmull

The brains of Disney’s ’toon empire on when to delay a
movie, female directors. Good Dinosaur, Frozen 2, Toy Story 4
and why Steve Jobs would be ‘appalled’ by Steve Jobs

By Matthew Belloni

E ven WITH FRAMED

cartoons on his walls, Ed
Catmull’s office on the Pixar
Animation Studios campus
in Emeryville, Calif., is bland com-
pared to the museum of toy
trains and memorabilia that is
John Lasseter s space down the
hall. Catmull, a Utah-born pio-
neer in computer graphics who
began his career at Lucasfilm
before launching Pixar with Steve
Jobs and Lasseter in 1986, often
is described as the brains of the
operation, while Lasseter is
the heart. But Catmull disagrees:
“First of all, John is extremely
smart. And I think creativity hap-
pens when you combine the

technical with the artistic.” That
might be Pixar s motto; the studio
that popularized digital anima-
tion has released 15 films without a
flop (its I6th, The Good Dinosaur,
opens Nov. 25), grossing $9.3 bil-
lion in total box office. And since
the 1,200-employee company was
sold to Disney in 2006 for $7.4 bil-
lion, Catmull has pulled double
duty at Disney Animation Studios,
spending two days a week every
month in Burbank reinvigorating
the house Walt built with hits like
Frozen. This year, Catmull, 70, also
became an author, writing (with
Amy Wallace) the well-received
Creativity, Inc., about the manage-
ment skills he has honed over

three decades. As Pixar pursues
his strategy of making two -thirds
original films and one-third sequels,
the married father of six invited
THR to the Steve Jobs Building for
a candid chat.

With Inside Out and Good Dinosaur,
Pixar is releasing two films in a year for
the first time. Tough?

In truth, it has been challenging.
Because you need to keep the
quality up, regardless of the rate.
WeVe given up thinking that
there’s an easy way to do it. In fact,
we’ve actually come to believe the
opposite: If we’re trying to make

it easier to make the films for
cheaper, there is a way to do that,
[but] you have to reduce the
quality. And that’s not our goal.

You delayed Good Dinosaur a year to
retool it. What did Disney CEO Bob Iger
say when you told him?

They completely trust that we’re
doing the right thing for the film
and for the studio. Now, you can’t do
that over and over again. (Laughs^
When Disney acquired Pixar and
we decided to spread ourselves
thin, there were a lot of people who
thought that was not a good idea.
It’s a risk that paid off, but in

our history, we’ve always
taken risks. Some of our
risks don’t pay off, [and]
we do delay. There’s noth-
ing smooth about anything
that we do.

This summer. Universal’s
Minions made $1.2 billion on
a budget of $74 million.

Inside Out cost double that
and made $850 million.

Early in his career, Catmull wrote a program to animate a
plaster cast of his hand (left). He unveiled it in 1972, he says.

52 I THE HOLLYWOOD REPORTER | 11.27.15

PHOTOGRAPHED BY Cody Pickeiis

"WONDERFULLY HUMAN.
TIMELY IN ITS PORTRAYAL

A talented cast led by Bryan Cranston's
intelligent and confident performance.

A deliciously malevolent Helen Mirren."

LOS ANGELES TIMES

TIMES CHANGE.
COURAGE IS FOREVER.

BleeckerStreetGuilds.com

BL==CKER

STREET

EXECUTIVE SUITE

1 CatmuU has a particular affinity for
Wall-E, Ratatouille and Up, three Pixar films
that few would have predicted would be
commercial successes. The jar was a staff
gift: “Employees each took a marble and
said something that came to mind. It was a
touching thing to do.”

2 Concept art from each Pixar film, including
Monsters, Inc. (center), adorns his wall.

3 Pixar’s mascot, Luxo Jr., star of the
company’s first short film, signals 12 o’clock
on CatmuU’s desk clock.

THE BUSINESS

DreamWorks is experimenting with
lower-cost films. Do you feel pressure?

We do impose pressure on ourselves
because we realize that the lower
the cost of the films, the more risk
we can take. But this is counter-
balanced by the fact that we want
the people here to completely own
the film. There’s an integrative feel
to our films that makes them last
longer. So if you look at the low-cost
films, there will be big hits — there
are talented people in other places
— but they’re more up and down,
they’re more mixed. And we’re try-
ing to consistently make really
good films. Pixar means more than
any other name.

You’ve talked about the innovations on
each Pixar film. What is the innovation
for Good Df/iosaur?

This one is interesting because
we’re coming off a fairly abstract
film {^Inside Out], which is inside
the mind of a little girl. In The Good
Dinosaur, the world looks so realistic
that when people saw [early] shots
of it, they thought they were photo
plates. The characters are carica-
tured inside a photorealistic world.

So that was the technical challenge.

You began your career with George
Lucas. How do you think he’s enjoying
retirement?

As far as I can tell, he’s really enjoy-
ing it. The last time I talked to him,
his young child was on his lap.

What does he think of the Star Wars
hoopla Disney is creating?

What he wanted was to make sure
that whomever he sold it to was
going to treat the film in the right,
respectful way and be able to do
something with it. Disney is doing
something pretty extraordinary
with it. Keeping it alive, having this
legacy, was very important to him.

Where are you with Frozen 2? It seems
to be a slow process.

Well, if one ever does a sequel, you
have to think: “OK, where are
they going.?” And it takes a while to
work that out. We haven’t figured
that all out yet.

Pixar has described Toy Story 4 as a
romantic comedy. Is it more of an adult
story than the previous movies?

In the case of Toy Story, we had

54 I THE HOLLYWOOD REPORTER | 11.27.15

basically the perfect trilogy. So
in this case it’s not like, “OK, you
can go on to the next step.” We
really wrapped that one up. At this
point, you’ve got to go in a very
different direction. This is a differ-
ent kind of exploration.

Of all the Pixar films, only Brave was
co-directed by a woman. Why aren’t
there more female directors here?

It is an important issue for us. You
look back and say, “OK, what’s
the dynamic of the feeder pool of
people.?” Over the summer, we
put on a program called Girls Who
Code, so we had somebody from
all the schools in the Bay Area, and
they spent 10 weeks here. The
idea is to get them at the junior-
high level, and then they come
into a place where they’re using
technology. The notion is to get
the mind- set right at that time in
life when people tend to go down
stereotypical directions.

Do you think Pixar will have a solo
female director in the next five years?

Yeah. I do.

You haven’t seen Steve Jobs, What
do you think Steve would have

thought of him being the subject of
this movie?

I think he’d be appalled. And they
actually can’t tell the story because
the story’s wrong. He went through
an arc in his life. There was a time
the way he worked with people
was not good, and I saw that when
I first worked with him. But peo-
ple look at that dramatic part, and
they’ll make a movie about that —
and that’s not the story. That was
the beginning of a more interesting
and complex story because when
he left Apple, he then entered into
what really is the classic hero’s
journey: He’s wandering in the wil-
derness, he’s working with NeXT,
it’s not working. He’s working with
Pixar, we’re failing. In that process,
Steve learned some major lessons,
and he changed. He became an
empathetic person, and we all saw
this. When [the Walter Isaacson
book] was being written, nobody’s
going to psychoanalyze Steve while
he was alive. That aspect of the
change of Steve was missed. That’s
the real story.

What do you think the right path is
for DreamWorks Animation?

I have no idea.

You don’t want to give them advice?

Well, we have never been secretive
about how we work. I wrote a
book about how we work, right.?

Will Pixar go to two movies
each year?

No. One and a half is pretty damn
hard. It’s not for lack of ideas or
talent, it’s just when you’ve got to
maintain that bar, it’s too much.

You say in the book the goal is to
create a culture that will outlast you
and John. Have you secured that?

Last year we promoted Jim
Morris to be president of Pixar,
and down at Disney it’s Andrew
Millstein. They are extraordinary,
but the important thing from
my point of view is that next level
down. When I’ve looked at other
companies, one of the reasons they
never click is they don’t have that
next level in place. Walt [Disney]
didn’t do it.

Name a rival’s film that you’ve liked?

I liked the first KungFu Panda.

That was more than seven years ago!

I did like Despicable Me. I thought
it was quite good. OZD

BRIE LARSON gives a

PERFORMANCE OF SUCH
STUNNING VIRTUOSITY
IT TAKES YOUR BREATH AWAY.

IT’S UNLIKELY YOU’LL SEE A BETTER
PERFORMANCE THIS YEAR.”

DENNIS DERMODY, PAPER

JACOB TREMBLAY

IS PURE MAGIC,

DEEPLY GIFTED AND TOTALLY
NATURAL. HE BRINGS DELIGHTFUL
INNOCENCE AND PROFOUND
DEPTH TO THE CURIOUS BOY
AT THE HEART OF ‘ROOM’.”

SANDY COHEN, Pf"*

JOAN ALLEN

IS SUPERB

AND stirring;

PETER TRAVERS, T^lWgStOlie

ONE OF THE
BEST FILMS
OF THE
DECADE.

RICHARD ROEPER,

Chicago suntimes

WINNER

PEOPLE’S CHOICE AWARD

tiff.40

toronto
tntcfnational
film festival

^'WINNER /WINNER'^ /WINNER'^

^ 2,15 ^

lir

& BFI LONDON
y FILM FESTIVAL

3 OFFICIAL SELECTION ijf

% 2015 Jr

THE BUSINESS

How Dead Authors Are Making a Killing in Hollywood

A slew of deceased (or otherwise retired) writers — from Stieg Larsson to Robert Ludlum — are digging up major
profits with posthumous releases and movie adaptations of their ‘latest work’ By Andy Lewis and Rebecca Ford

H er 2014 BEST-SELLER,

The Monogram Murders, sold
500,000 copies. She’s
got two film projects under-
way at Fox — including one
to be directed by The Imitation
Game\ Morten Tyldum — and
a mini- series in development
at Lifetime. Not to mention
a new app launched this month.

You’d never know Agatha
Christie has been dead for nearly
40 years.

Christie is just one of a slew of
literary power players that aren’t
letting a little thing like mor-
tality get in the way of their income
stream. Stieg Larsson, author of
The Girl With the Dragon Tattoo
series, died in 2004, but in
September his publisher, Knopf,
came out with The Girl in the
Spider s Web, selling more than
200,000 hard covers and e-books
in its first week (with a movie
in development at Sony). Harper
Lee isn’t dead, but at 89 she is
deaf and blind and hasn’t written

a published word in more than
50 years. Yet this summer, when
HarperCollins released her To
Kill a Mockingbird sequel. Go Set
a Watchman, it became the pub-
lisher’s fastest-selling novel ever
(1.1 million copies in less than a
week). Dead authors like Robert
Ludlum, Michael Crichton,
Elmore Leonard and even Dr. Seuss
have been cranking out new mate-
rial almost as fast as when they were
alive — some excavated from old,
never published drafts (like Lee’s
book), others whipped up out of
whole cloth by literary impression-
ists (like Larsson’s).

This isn’t a new practice.

Ian Fleming’s publishers have been
keeping the author busy since
the 1970s, even though the author
died in 1964. So far, 25 posthu-
mous James Bond novels have
been published under Fleming’s
banner (Kingsley Amis wrote a
bunch), while his name has sur-
vived on the credits of five decades
of Bond films (including Spectre,

which opened on Nov. 6 with
$70 million). The movies, in turn,
boost book sales.

After Daniel Craig’s Casino Rnyale
came out in 2006, for instance,
Fleming’s 1953 novel began appear-
ing on best-seller lists (No. 133,
but still). “There’s a whole brand
awareness [during a film’s
release],” notes Jeffrey
Weiner, who has managed
Ludlum’s estate since the
author’s death in 2001. He’s
planning to release a new
Bourne novel in June, just in
time for the arrival of the
fifth Bourne film (which will
reunite Matt Damon and
Paul Greengrass). “We’ve
kept Ludlum alive in the public
eye,” says Weiner. “Most people
reading his books today and seeing
the movies have no idea that he’s
not alive.”

Part of the trick of keeping a
dead author’s activity brisk is find-
ing just the right voice to take his
or her place. Even well-established

writers like Jeffery Deaver (who
did one of the Bond novels) and
Eric Van Lustbader (who did one of
Ludlum’s) were asked to submit
sample chapters and offer extended
pitches. But when it’s done cor-
rectly, it can be extremely lucrative.
Vince Flynn died in 2013, but his
new Mitch Rapp novel. The
Survivor, ghostwritten by
I^le Mills, debuted at No. 1
on the New York Times best-
seller list in October (and
spiked back catalog sales).

Surprisingly few authors
plan for their literary after-
life. “It never came up,”
says Peter Leonard about
his father Elmore’s wishes
for his literary estate. The younger
Leonard, the author of six books,
is writing a novel based on a char-
acter his father (who died in
2013) wrote about in his Justified
series. “We never talked about
me picking up his characters,” he
says. “But he knew he wasn’t going
to live forever.” OZD

56 I THE HOLLYWOOD REPORTER | 11.27.15

ILLUSTRATION BY David Galletly

OUR PASSION FOR RAOING:

CHRONOTIMER COLLECTION

Welcome to the world of Porsche Design. A world that stays eternally young, fresh, and cool by passionately
driving for innovation. A world where new quality materials, technologies, and finest functional elegance blend into
a truly exclusive, iconic contemporary design. Some call it luxury? We call it essentials for a challenging future.

www.porsche-design.com

TELEVISION

THE BUSINESS

The Great Late-Night Poll: Where the Hosts Stand Now

Five years ago, in THR's first issue, polling firm Penn Schoen Berland evaluated the post-primetime landscape. Now,
with only one host still in his seat, it went back to learn who is watching whom and why atheists love Colbert By Matthew Beiioni

I N NOVEMBER 2010, THE FIRST ISSUE OF THE
relaunched Hollywood Reporter magazine included
results of an extensive survey of late-night TV view-
ers. Respondents were asked their honest opinions
of the genre s biggest names — NEC’s Jay Leno, CBS’
David Letterman and Comedy Central’s power duo of
Jon Stewart and Stephen Colbert, among them. The
results revealed aging audiences and high hopes for TBS’
new star, Conan O’Brien. Five years later, the late-
night landscape is completely different. Only ABC’s
Jimmy Kimmel remains host of the show he had then,
as Jimmy Fallon inherited The Tonight Show, Colbert
took over Late Show and new, younger players James

= WHO IS

Corden, Trevor Noah and Seth Meyers are making a
play for viewers. For the magazine’s fifth anniversary,
THR, working again with measurement firm Penn
Schoen Berland, polled viewers to determine what they
watch and why. The firm conducted an online survey
Nov. 6 through Nov. 10 of 1,000 late-night viewers ages
18 to 65 (split equally between men and women).
“What a tumultuous five years it has been!” says lead
pollster Jon Penn, noting the biggest winner has been
Fallon: “He’s the unpredictable, cool dude you want
to be friends with, and his silly, witty and nonoffen-
sive humor is connecting with Leno fans and young,
married, moderate women.”

WATCHING THEIR SHOWS?

Stephen Colbert

Two months in, Colberfs CBS Late
Show viewers skew young and male
and are the most soeially liberal of the
broadcast shows. They are wealthier
and signifieantly more likely to be
atheist and have a masters degree.

59% MALE

41% FEMALE

AGES 18-24 25-34

35-44

45-54

55-65

21% 22%

18%

20%

18%

Jimmy Fallon

Fallons NBC viewers are more
likely to he married, moderate
and female. They also are least
supportive of Obama’s presideney
and most likely to think the
eountry is on the wrong traek.

55 % FEMALE

18-24

25-34

35-44

45-54

55-65

20%

19%

22%

20%

19%

Jimmy Kimmel

Kimmel’s ABC viewers are more
likely to he older and soeially
eonservative or Repuhliean. They
are split evenly between men and
women, skew Protestant and tend
to wateh other ABC shows.

49 % FEMALE

18-24

25-34

35-44

45-54

55-65

19%

20%

18%

20%

23%

Viewers with ineome less than $75,000: 65%

Viewers with ineome less than $75,000: 67%

Politieal party membership:

Democrat (47%), Independent (31%)
and Republican (17%)

Politieal party membership:

Democrat (36%), Republican (31%)
and Independent (27%)

Politieal party membership:

Democrat (34%), Republican (33%)
and Independent (30%)

Top news networks:

CNN (24%), Fox News (21%) and MSNBC (10%)

Favorite eable networks:

A&E and National Geographic

TV shows:

Shark Tank and The Baehelorette

Aleohol of ehoiee: Beer (20%) and wine (14%)

Aleohol of ehoiee: Beer and wine tied at (16%)

Aleohol of ehoiee: Beer (16%) and wine (10%)

Attend church at least
a few times a month

28% Protestant
18% Catholic
30% Atheist

42 %

Attend church at least
a few times a month

I 37% Protestant
4 29% Catholic
14% Atheist

43 %

Attend church at least
a few times a month

41% Protestant
28% Catholic
16% Atheist

mum

• 18 "/

of Colbert viewers most

O likely to use SIVA PC ff AT

30%

of Fallon viewers most
likely use PINTEREST

mmm

27 "/

of Kimmel viewers most
O likely to use GOOGLE+

58 I THE HOLLYWOOD REPORTER | 11.27.15

"Rg^Iii^Stoiie

“PAUL DANO GIVES A PERFORMANCE AWARDS WERE
INVENe FOR. YOU CANT TAKE YOUR EYES OFF OF HIM.”

mm LIONSGATr

•VOICE

“ELIZABETH BANKS IS SUPERB.

THIS IS THE FINEST PERFORMANCE SHE’S GIVEN YET.

The performances in Love & Mercy are key to its power.”

BEST PICTURE

Produced by

BILL POHLAD • CLAIRE RUDNICK POLSTEIN • JOHN WELLS

BEST SUPPORTING ACTOR

PAUL DANO

BEST SUPPORTING ACTRESS

ELIZABETH BANKS

love&mercy

www.roadsideawards.com

TELEVISION

THE BUSINESS

On personality measures,
Fallon holds the broadest appeal,
outperforming Kimmel and Colbert
on attributes related to likability
and credibility. Pollsters asked for
responses to specific words.

“OPINIONATED”

“AUTHENTIC”

“COOL DUDE”

“PARTY ANIMAL”

C01B[RI

Of the three 11:35 p,m,
broadcast personalities^ viewers
said they want to,,,

22^ COLBERT

47 % F ALLON
30 % ILiMEL

23 % COLBERT
51 % FALLON
26 % ILiMEL

... have
a heer
with

WHICH 2016 PRESIDENTIAL CANDIDATE DO YOU FAVOR?

Hillary Clinton

40%

Colbert

Fallon

40%

Kimmel

Bernie Sanders

43%

Colbert

33%

Fallon

30%

Kimmel

# 0

Donald Trump Ben Carson

23% 30%

16%

20*

Colbert

Fallon 1 Kimmel

Colbert

Fallon

Jeb Bush

12 %

Colbert

13%

Fallon

13%

Kimmel

Carly Fiorina

12% I 11% I 8%

Colbert I Fallon I Kimmel

When it comes to the 2016 presidential election, late-night viewers
skew Democrat, but Kimmel’s viewers are the most likely to be divided

If the election for president
took place today, and
Donald Trump was the
Republican candidate and
Hillary Clinton was the
Democratic candidate, for
whom would you vote?

So ...

IN YOUR OPINION, IS

DONAID TRUMP

MORE QUALIFIED
TO BE THE
PRESIDENT OF
THE UNITED
STATES OR A HOST
OF A LATE-NIGHT
TALK SHOW.?

09 % HOST

31 % PREZ

On the issues:
While Colbert and
Kimmel viewers
lean toward
opposite ends of
the political
spectrum, Fallon
bridges the
divide and
captures swing
voters. All
viewers want legal
marijuana and
marriage equality.

Support or
Oppose? ►

TThe

Hosts

Colbert

Support

Oppose

Support

Oppose

Support

Oppose

Support

Fallon

Support

Oppose

63%

Support

Oppose

Support

Oppose

Support

Oppose

Support

Opposi

Kimmel

Support Oppose

59 %

66 %

Support

Oppose

Support

Oppose

Support

Oppose

60 I THE HOLLYWOOD REPORTER | 11.27.15

I wou Id liUe to aclcnowledge The Bastard
Executioner family for a once in a lifetime
creative and personal experience. I have
been awed by the talent and commitment of
this TBX cast and crew.

I thanlc my partners for their trust, support
and tireless effort as I slashed my way
through years of Catholic angst. EX

NetworUs, EoxZl, Paris Barclay, Brian
Grazer, Erancie Calfo, Oana Walden, Gary
Newman, Bert Sallee, Michael Gendler, WME
and the guy who, for over a dozen years
now, inspires, guides, wrangles and for some
reason, doesn't fire me, Joh n Landffraf.

The audience has spoken and

unfortunately the word is, "meh".
So with due respect, we bringour
mythology to an epic
and fiery close.

(Jno tempore. (Jnus amor.

Ics

TELEVISION

THE BUSINESS

RETIRED HOSTS: WHERE THEIR VIEWERS HAVE SCATTERED

The former hig three. Jay Leno, David Letterman and Jon Stewart, largely have passed the baton to Fallon, though Colbert
(not Daily Show host Trevor NoahJ has pieked up a hig ehunk of Stewart fans. Here’s where viewers say they went

Kimmel

Colbert

O’Brien

Corden

Wilmore I Stopped watching late-night

Monologues Matter Less: VIEWERS WERE ASKED, f~\

WHICH PART OF A LATE-NIGHT SHOW IS YOUR FAVORITE? ‘

... LATE-NIGHT TV ^Sfk

HAS INFLUENCE. VIEWERS IQr
WERE ASKED, DO THE SHOWS
AFFECT POLITICAL OPINIONS?

INTERVIEWS

WITH

GUESTS

COMEDIC
COMMENTARY
or SKITS

OPENING

MONOLOGUE

MUSICAL
GUESTS
or STAND-UP
COMEDIANS

1 18-34

35-49

50-65 1

ALL

2010 1

27 %

30 %

38 %

6 % :

! 52%

1 48%

38%

62%

30%

70% ^P

42%

58% ^P

2015

35 %

30 %

23 %

11% :

•

l> CM

65%

35%

47%

53% ^P

62%

39% ^P

THE TAKEAWAY:

Fallon Is the Undisputed King

He dominates the eight-way horse raee
aeross all age groups and wins the three-way
battle by a 2-to-l margin.

If each of the following late-night TV
personalities aired their shows
at the same time, if you had to choose,
which one would you watch?

20% Kimmel

13% Colbert

10 % O’Brien

r 5% Noah
" 2% Meyers
2% Wilmore
1% Corden

BUT WHAT IF LATE-NIGHT WASN^T DOMINATED BY MEN ...

One glaring change from 2010 is the absence of a female host in late-night (Chelsea Handler
^ exited E! in 2014 and will launch on Netflix in 2016). Pollsters asked respondents which woman
they’d like to see host a show; the size of the names below reflect their answers.

Sofia Vergara Tina Fey

Jennifer Lawrence —

EUeabcth Bwikt

Whoopi Goldberg wuiiams Chelsea Handler Angelina Jolie

Amy Schumer

Kkn Kardashiar Barrymore Melissa McCarthy

Ellen DeGeneres

Kathy GrifTin

Oprah Winfrey

Sandra Bullock Hillary Clinton

Sarah Silverman

62 I THE HOLLYWOOD REPORTER | 11.27.15

FOR

YOUR

C O

NSIDERATION

ALL

BEST PICTURE

CATEGORIES INCLUD

BEST ACTRESS

CATE BIANCHETT

N G

BEST SUPPORTING ACTOR

ROBERT REDFORD

BEST ADAPTED SCREENPLAY

JAMES VANDERBILT

“A REAL GEM. JAMES VANDERBILT MAKES AN IMPRESSIVE
DIRECTING DEBUT. CATE BLANCHETT IS OUTSTANDING AS
A WOMAN WHO’S SMART, GUTSY AND VULNERABLE.
ROBERT REDFORD IS EXCELLENT, ONE ICON PLAYING ANOTHER.”

-Tim Gray, VARIETY

Truth

FOR SCREENING INFO VISIT
WWW.SONYCLASSICSAWARDS.COM

SONY PICTURES CLASSICS^

AWARDS SEASON ANALYSIS & OPINION

The New Star Wars Battles the Oscars’ Sequel Curse

Nearly 40 years ago, George Lucas’ groundbreaking space odyssey got lots of Academy
love, but only five sequels in movie history have ever been nominated for best picture so
the pundits aren’t — yet — placing any bets on J.J. Abrams’ film By Gregg Kiiday

I T WASN’T THAT LONG A TIME AGO, AND IT
certainly wasn’t in a galaxy far away: At the 50th
Academy Awards in 1978, George Lucas’ original
Sfar Wars ruled. Entering the evening, the movie,
which had taken the country by storm since its release
on May 25, 1977, arrived with 10 nominations, including
best picture, director and original screenplay. And
though it lost those three top prizes to Woody Allen and
his Annie Hall, it still captured six trophies in the crafts
categories — the biggest haul of the night — including
one for John Williams’ score. It also received a spe-
cial achievement award for the sound effects that Ben
Burtt created for its assortment of droids, aliens
and spacecraft.

In terms of awards expectations, though, it turns
out that really was a long, long time ago and might
as well have been in a faraway galaxy. Because even
though Disney and Lucasfilm are now working over-
time to send the whole Star Wars phenomenon back
into hyperdrive with the Dec. 18 opening of J.J. Abrams’

Star Wars: The Foree Awakens, the imminent return
of Luke, Leia and Han Solo hasn’t stirred up any antici-
patory Oscar buzz. Check out the prognosticators
online, and you won’t find anyone betting the movie
will be a best picture contender.

Partly, that’s because no one has yet seen the film.

While its marketeers have been doling out carefully
controlled images and hints of character and plot to
feed the growing fan frenzy, that hasn’t had a corre-
sponding effect on the legion of awards bloggers. The
same handicappers haven’t seen Alejandro G. Inarritu’s
The Revenant or David O. Russell’s Joy either, but that
hasn’t stopped them from putting those movies high
up on the prediction charts, given that Inarritu won
big for last year’s Birdman and Russell’s past three films
(The Fighter, Silver Linings Playbook and Ameriean
Hustle) were best picture nominees. Abrams may have
been nominated for seven Emmys, winning two for producing and direct-
ing Lost, but he’s yet to get any love from the film Academy.

And then there are the other factors in play: Lucas was never big on
the Oscar hunt. According to Dale Pollock’s Skywalking: The Life and
Films of George Lueas, the director didn’t want to go to the 1978 ceremony,
though he finally agreed to accompany his then-wife, Marcia Lucas,
who was nominated for (and won) for her editing on the movie. “He never

YO, JUST DON'T CALL IT

CREED, THE NEW BOXING DRAMA THAT RETEAMS
Michael B. Jordan with his Fruitvale Station director Ryan
Coogler, also will be fighting the sequel curse as it looks
to gain awards traction. Jordan plays Adonis Johnson, the
son of Carl Weather’s Apollo Creed, who shared the ring
with Sylvester Stallone’s lug in 1976’s Rocky, the best picture
Oscar winner. That history isn’t likely to repeat, but if the
awards gods are willing, Stallone could bid for a supporting
nom, since he now plays the older trainer, which back
then earned Burgess Meredith a nom. — g.k.

felt it was important to have an Oscar to be happy
or successful or fulfilled,” Marcia said. And though
the Academy honored him in 1992 with its Irving
G. Thalberg Award for his work as a producer, Lucas
always kept his distance from Hollywood and never
joined the Academy.

While the original Star Wars made a splashy entrance,
each subsequent installment saw diminishing returns
when it came to awards. The Empire Strikes Baek (1980),
directed by Irvin Kershner and written by Leigh
Brackett and Lawrence Kasdan (the latter is a co-writer
on the new film), is regarded as the series’ critical high,
but it received just three noms, winning for sound (along
with getting a special award for visual effects). Return
of the Jedi (1983) earned four noms but won none, though
it also picked up a special achievement citation for
its VEX.

The Lucas-directed prequels that began rolling out in
1999 had even less awards impact: The Phantom Menaee
(three noms, no wins), Attaek of the Clones (one nom, no
win). Revenge of the Sith (one nom, no win).

It all creates an enormous hurdle for the new film. The
Academy prizes originality — the first Star Wars, even
if it harkened back to old serials, felt new — and views
sequels skeptically. Only five sequels ever have been
nominated for best picture, and only two. The Godfather:
Part II ( 1974 ) and The Lord of the Rings: The Return of
the King (2003), have won. Disney may have dropped the
designation “Episode VH” from Star Wars: The Foree
Awakens' official moniker, but even if Abrams breathes
new life into the series, there’s no papering over the
fact that it’s No. 7-

A further challenge: Disney, which isn’t officially
unveiling the movie until a world premiere on Dec. 14,
isn’t planning to sneak the film early to critics and other
awards groups that begin announcing their picks for
the year’s best in early December. Sure, even if the stu-
dio were to do so, the movie would have to be considered a long-shot for
such prizes — though, back in the day, the Los Angeles Film Critics did
name the first Star Wars its best picture of 1977-
Even so, Foree Awakens could still surprise. “I don’t count it out,” con-
fides one veteran Oscar player. “J.J. is a good director.” And nostalgia
could come into play as well. Senior Academy members, who were just
entering the business when Star Wars helped rewrite the rules for what
a blockbuster could be, may be as susceptible as the franchise’s legion
of fans. Harrison Ford, at 73, is now a decade older than Alec Guinness
was when he, regarded at the time as a grand old man, earned a sup-
porting nom for the first movie.

But here’s a safe prediction: Whether or not Foree Awakens emerges as
a multiple nominee, there’s no way that ABC’s Oscar broadcast is going to
ignore the movie. Reginald Hudlin and David Hill, the show’s producers,
certainly will insert members of the Star Wars crew into the proceedings,
even if it’s just a Wookie or Storm Trooper or two. Because, to court the
widest possible audience, the Oscars need Star Wars more than Star Wars
needs the Oscars. UM

64 I THE HOLLYWOOD REPORTER | 11.27.15

ILLUSTRATION BY Taylor Gallery

EDITING

So What If They
Know the Ending?

The 33 was ‘found in the editing room,’
where the story of the rescued Chilean
miners was pared to the ‘core heroes’

By Carolyn Giardina

Top: Gabriel Byrne
portrays engineer
Andre Sougarret,
who played a part
in the rescue of the
Chilean miners.
Bottom: Banderas
(center) as Mario
Sepulveda, leader of
the trapped men.

I T WAS JUST FIVE YEARS AGO THAT MORE
than 1 billion worldwide viewers, glued to their
TV sets, watched the daring rescue of 33 min-
ers who spent 69 days trapped in the San Jose
Mine in Chile. And that posed a problem for
The 33, the $26 million production from Phoenix
Pictures and Alcon Entertainment that Warner
Bros, released Nov. 13, because for all the story’s
inherent drama, it also meant millions of poten-
tial moviegoers would know the film’s ending,
undercutting whatever suspense the filmmakers
hoped to generate.

“The challenge was to get the audience
invested in the characters and lose themselves
in the story — to create conflict, to create
suspense, to get into what the government had
to do to accomplish the rescue and what the
miners had to do to stay alive,” says the film’s
editor, Michael Tronick, whose credits range
from Scent of a Women to the recent Straight
Outta Compton.

Director Patricia Riggen turned to the
veteran Tronick to piece together the
story, an assignment akin to assembling a
complex jigsaw puzzle. “We needed a really
experienced editor,” she says. “We shot so much,
and there were so many characters and three
storylines” — the simultaneously unfolding
stories of the miners, the government’s effort
to find them and the plight of their families.
“We went off script,” she adds. “This movie was
explored and found in the editing room. We
moved around scenes, created moments. We had

C U1 Lll'

a lot of material to work with. There was a lot of
wonderful discovery in the editing room.”

As Tronick assembled the movie, he says, he
kept asking key questions: “How did they
make it? How did they live for the 69 days.? That
allowed the audience to connect with the basic
humanity of the men and their plight and that
of the families — the motivation not to give up.”
Deciding that “the most compelling part
of the movie is with the miners,” he and
Riggen decided to cut away a lot of the
above ground action, keeping it “to
the absolute minimum to still push the
story forward.” Among the scenes that
were eliminated was one in which an assistant to
Chile’s president visited the families in the area
dubbed Camp Hope.

But even with that plan of attack, Tronick
knew he couldn’t tell 33 stories and that some
of the miners’ individual tales would have to
take precedent over others. “We were constantly
adding and subtracting. We had a huge board in

7-17 7 .

the cutting room with 3-by-5-inch cards of every
scene. And we also were facing the challenge
of running time,” he says of the movie, which
ultimately clocks in at 127 minutes. “A lot of
subplots and character beats had to be jettisoned
in favor of sticking to the core heroes whom
the audience would have the most invested in.”
Riggen also had to find ways to compress time,
for, as she adds, “After the miners were discov-
ered, we had another 50 days to go before the
rescue. So we created a sequence of newscasters
to show the passage of time.”

It wasn’t just about what to cut from the
film, either. Tronick also had to think about
how to make connections among the miners,
trapped below ground, and the human drama
taking place on the surface. “It was like mov-
ing pieces on a chess board,” he says. “If there
was a scene belowground that centered on
Antonio Banderas’ character, when we went
aboveground, we’d connect his wife and daugh-
ter so there would always be a through line.” QM

66 I THE HOLLYWOOD REPORTER | 11.27.15

BEST ACTRESS

Lily Tomlin

BEST SUPPORTING ACTOR

Sam Elliott

t BEST ORIGINAL SCREENPLAY

Paul Weitz

GRANDMA

WRIHEN AND DIRECTED BY PAUL WEITZ

SONY PICTURE S CLASSICS'

PAUL WEITZ’S WRY AND INSIGHTFUL MOVIE.
THE WONDER THAT IS ‘GRANDMA’ CAN BE
SUMMED UP IN TWO W0RDS= LILY TOMLIN.”

-A.0. Scott, THE NEW YORK TIMES

“LILY TOMLIN HAS NEVER BEEN BETTER.
SHE WORKS MIRACLES AND LEAVES YOU
DAZZLED. SAM ELLIOTT IS SUPERB.”

-Peter Travers. ROLLING STONE

f BEST ACTRESS!

NOMINEE

GOTHAM AWARDS

FOR YOUR CONSIDERATION

BEST ACTOR IN A LEADING ROLE

JAKE GYLLENHAAL

"ONSCREEN AND ONSTAGE,
JAKE GYLLENHAAL SHOWS -
THE KIND OF VERSATILITY '
AND COMMITMENT THAT
SHOULD HAVE WON HIM PRIZES.
MAYBE IT'LL BE FOR SOUTHPAW

HE GIVES A VIRTUOSO PERFORMANCE...
r THE EXTERNALS - SCARS, TATTOOS"
^AND SLURRED VOICE - DON'T BEGIN
F TO SUGGEST THE EMOTIONAL DEPTHS
HE BRINGS TO THE PART.

ROLLING STONE, PETER TRAVE

"JAKE GYLLENHAAL GIVES
A TRANSFORMATIONAL
PERFORMANCE FOR THE AGES

THE HC^LLYW'^'^D R^EPORTER, scott feinberg

A BRAVURA PERFORMANCE
IT'S A WIN FOR
JAKE GYLLENHAAL."

THE WALL STREET JOURNAL, JOE MORGENSTERN

"JAKE GYLLENHAAL GIVES
ONE OF THE GREAT
PERFORMANCES OF A MAN-
BEING EATEN UP INSIDEr
> AND YET IT'S
FULL OF GENTLE,
UNEXPECTED TOUCHES."

<ICISCO CHRONICLE, MICK LASALLL

DIRECTED BY ANTOINE FUQUA WRITTEN BY KURT SUTTER

Tml WtiN-=m;N COMr*s—

. --tr r, - ; — ‘

WWW.TWCGUILDS.COM

NOV 20 I 8/7c

DONATE NOW AT

SHININGALIGHTCONCERT.COM

PERFORMANCES BY:

ICONIC STYLE

A. Lange & Sohne • Balenciaga • Bally • Berluti • Bottega Veneta • Brunello Gucinelli • Burberry • Chanel
Charlotte Olympia • Chopard • Dior • Dolce & Gabbana • Fendi • Gucci • Harry Winston • Hermes • Jimmy Choo • John Varvatos
Lanvin • Longchamp • Louis Vuitton • Marni • Massimo Dutti • Moncler • Omega • Oscar de la Renta • Prada • Ralph Lauren
Roberto Cavalli • Roger Vivier • Saint Laurent • Salvatore Ferragamo • Tiffany & Go. • Vacheron Constantin • Valentino

Saks Fifth Avenue • Bloomingdale’s • Nordstrom • Macy’s

partial listing

Quality i§

San Diego FWY (405) at Bristol St, Costa Mesa, CA

SOUTH

COAST

PLAZA

SOUTHCOASTPLAZA.COM 800.782.8888

Inlrrnatiunal Dmtinuiion

A #HA UTE
HOLLYWOOD
HOLLDA Y

Indulge your industry colleagues or most intimate
friends with these 25 gifts when you want to go way
over the top (all in good taste, of course)

By Carol McColgin and Jane Carlson

Rainbow Strand
Irene Neuwirth
one-of-a-kind necklace
with diamonds,
tourmaline, sapphire,
aqua, emerald, beryl,
opal, turquoise
and pearl; price upon
request. Below: Irene
Neuwirth drop earrings
with watermelon
tourmaline, aquamarine
and diamond pave;
price upon request by
special order
only, at Irene Neuwirth,
West Hollywood

Candy on the
Red Carpet
Christian Louboutin
Rivierina

multicolored crystal
pump; $2,195, at
Christian Louboutin,
West Hollywood

Witherspoon
Stone Foxes

Pink spinel and pink sapphire ring
set in 18-karat white gold with
diamonds ($90,000) and aquamarine
sea life ring in 18- karat yellow and
white gold ($85,000). Both are Art
of the Sea pieces by Tiffany Blue
Book (Reese Witherspoon is a fan);
at Tiffany & Co., Beverly Hills

www.thr.com I THE HOLLYWOOD REPORTER | 71

STYLE

Dapper DufFel
Louis Vuitton leather Keepall
Bandouliere 50 tote;
$5,300, louisvuitton.com

Craig

Sharp Shades

Tom Ford acetate and metal Louis
sunglasses. Daniel Craig wears
custom Tom Ford in the latest Bond
film. Spectre, which has earned
more than $300 million worldwide at
the box office; $395, mrporter.com

72 I THE HOLLYWOOD REPORTER | 11.27.15

Best in the Galaxy
Devon Star Wars
wristwatch (the
co-branded timepiece
from L.A.-based firm
Devon Works is
limited to 500). Star
Wars fans like
Stephen Colbert
would be over the moon
for this watch;
$28,500, available to
order at Westime,
Beverly Hills, and Kenjo,
New York

Opulent Ride

Rolls-Royce’s latest model, the Dawn
convertible, also is the storied
carmaker’s most stunning since BMW
took control of Rolls in 2003. The
Dawn, shown in Midnight Sapphire,
seats four amid leather and wood
appointments that wouldn’t be out of
place on a yacht, albeit powered by
a 563 horsepower 6.6 liter twin-turbo
V-12; available for preorder

Colbert

Ron Meyer

Sound It Out
Bang& Olufsen BeoLab 90
loudspeakers maximize sound
quality by automatically
adjusting to the dimensions of
the room and placement of
furniture; $38,995, at select
Bang & Olufsen stores

Kelly Meyer
Surfer Chic
Kelly Wearstler limited-
edition Cruz surfboard
($14,500) in black-and-white
check and limited-edition
Classic Kiss surfboard
($2,995); NBCUniversalvice
chair Ron Meyer and wife
Kelly could hit the waves with
these at their Malibu
residence; at Kelly Wearstler,
West Hollywood

#Cool Coasters
Kim Seybert Hashtag
coasters are
perfect for a tech pal
like Instagram
founder Kevin Systrom;
$98 (set of four),
neimanmarcus.com

Systrom

CRAIG: JOHN PHILLIPS/GETTY IMAGES. COLBERT: BEN GABBE/GETTY IMAGES. R. & K. MEYER: JASON MERRITT/GETTY IMAGES. SYSTROM: LARRY BUSACCA/GETTY IMAGES. CAR: SIMON CLAY/COURTESY OF ROLLS-ROYCE. GLASSES: COURTESY OF MR. PORTER. MASKS. BAG, WATCH, COASTERS, BOARDS, SPEAKERS: COURTESY OF BRAND (7).

SIYLE

Heart These Sweaters
Barneys New York Cashmere
Emoji sweater in blue
(kids sizes 2 to 12, $144)
and pink (infant sizes
6 months to 24 months,
$120); new moms like
Carey Mulligan would adore
these; barneys.com

Grand Slam
Chanel beach ball
racket set (from
spring/summer 2016
collection); $2,900,
at Chanel boutiques,
800-550-0005

Mulligan

Twinkle Toes

Del Toro children’s embroidered navy velvet
star slippers; $250, deltoroshoes.com

Hot Wheels
Goldgenie made-
to-order 24-karat gold
bicycle; $304,000,
modaoperandi.com

74 I THE HOLLYWOOD REPORTER | 11.27.15

WUETY

“IMPECC

M OoilyiM&inail

Pfp “★★★★★.

/II^AEL I
I. MARIC T

TAW

Shakespeare is more than anything reliant
on great acting. Without it, the lines get lost,
the tension goes flat. With it, you don’t even
have to know the story to be pinned to
your seat, electrified. That’s how it is here.”

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

MICHAEL FASSBENDER

MARION COTILLARD, ELIZABETH DEBICKI

PADDY CONSIDINE, SEAN HARRIS
JACK REYNOR, DAVID THEWLIS

AwardsCIrcuit

Michael Fassbender and Marion Cotillard
especially are astounding in their fresh,
nuanced interpretations of two infamous roles.

An epic experience.”

■ f

SALUTES THE

THE HOLLYWOOD REPORTER

ON 5 WONDERFUL YEARS!

CONGRATULATIONS TO
THE ENTIRE THR STAFF

i- 2015 DreamWorks Anfma^^ r ‘J u All Bights Heservea.

CONGRATULATIONS

TO THE COLLEAGUES OF THE HOLLYWOOD REPORTER ON YOUR 5TH ANNIVERSARY SINCE RELAUNCH

M FXP « («S<) 0& MK f«2i.

Tree Jewelry
Hermes hand-
lacquered fiberglass
Christmas ball; $345,
at Hermes stores and
hermes.com

|P'

STYLE

Customized
Couture Diary
Red-carpet stars like
Cate Blanchett can choose
20 standout looks
for artist Abigail Vogel
to paint; each book
contains custom-made,
hand-bordered pages for
notes and includes
personalized red or black
binding in hand-
tooled 24-karat gold;
$10,000, at Neiman
Marcus, 877-966-4438

Pink Punch
Oscar de la Renta
Goa embellished
satin clutch; $1,450,
netaporter.com

THR Exclusive:
Master Class
and Meal at Bouchon
Enjoy a special
Sunday Supper for yourself
and 11 guests in the
Champagne Room: Start
with a custom cocktail
lesson, then sip the results
before sitting down
to a family-style bistro
prepared and served
by chefs Thomas Keller
and David Hands.

And enjoy a fun, kid-friendly
Bouchon Bakery
option: Bake, then break
bread and finish by
filling your own macarons
to take home ($10,000);
contact Justin Williams,
310-281-5681

Note: Buyer would
have to provide dates
for 2016 in advance
to guarantee chefs are
in-house for the dinner.

78 I THE HOLLYWOOD REPORTER | 11.27.15

Netflix is proud
to congratulate
the entire team at

on their 5*'^ year
anniversary since
relaunch.

CONGRATULATIONS

To the Entire
THR Team

CONGRATULATIONS
TO THE ENTIRE TEAM AT
THE HOLLYWOOD
REPORTER

GELERRATING 5 YEARS
OF STUNNING SUGGESS.

A TRULY STELLAR
AGHIEVEMENT

From all your friends at

HP-C® AND RELATED SERVICE MARKS ARE THE PROPERTY OF HOME BOX OFFICE, INC.

STYLE

AUTO

BACK TO THE FUTURE: RETURN OF THE 124 SPIDER

A star of the show will be Fiat but remains one of Italian coach builder

Chrysler s revival of the beloved Fiat 124 Pininfarina s most beautiful designs —

Spider sports car, kissing cousin of the mated to a 1.4-liter turbocharged four-
Alfa Romeo Duetto Spider (driven by cylinder engine delivering 160 horsepower.

Dustin Hoffman in 1967 s The Graduate).
The new Spider evokes the thoroughbred
lines of the original — which has been
out of production
for 30 years

The first 124 manufactured will be num-
bered Prima Edizione Lusso models
with a commemorative badge, exclusive
Azzurro Italia exterior paint and pre-
mium saddle leather seats.

THENEXT
CARS HOLLYWOOD
WILL DRLVE

Or so hope the luxury automakers coming to the Los Angeles
Auto Show (Nov. 20-29 at the Convention Center) with everything from
a BMW reboot to a convertible Range Rover By Michael walker

MERCEDES-BENZ'S SERIOUSLY SEXY SL

The slinky Mercedes SL dates to the gullwing-doored
beauties of the 1950s and has been a fixture in Holl 3 rwood
since — Richard Gere tooled around L.A. in a 450SL con-
vertible in 1980 s Ameriean Gigolo. The version Mercedes
will drop at the show sports a redesigned front end, with
a more aggressive grille and LED headlights that echo the
new-generation S-Class, as well as an optional V12 engine
rated at an awesome 621 horsepower.

BMW 7 BETS I IBIBIT NEEBEB) BEBBOT

> > The 7 Series is a classic (Reese Witherspoon
has been spotted driving an Alpina B7 sub-
model), but BMW is set to unwrap the first
rethinking of its flagship sedan in seven long
years. With the directly competing Mercedes
S550 by some measures the world’s most
technologically advanced car, BMW loaded
the new 7 ($82,295) with tech: The entertain-
ment system responds to finger sweeps and
hand gestures, and adaptive controls use
cameras and radar to keep the car in its lane
at speeds as high as 130 mph, bringing the 7
up to par with automated driving functions
found in the S-Class and Tesla’s Model S.

RANGE ROVER DROPS THE TOP

♦I A convertible SUV.?

Why not.? Range Rover’s
Evoque Convertible
($51,470), first shown as
a head- turning con-
cept in 2012, comes with
SUV bona fides like
standard all-wheel drive
but adds convertible-
specific touches including a rollover protection system
that deploys if the car’s computers sense an imminent
upset. The top drops in 18 seconds flat and raises in 21.

SELF-DRIVING CARS COULD RULE IN L.A.

Autonomous driving will be the
show’s hot topic, and Southern
California likely will be the proving
ground where self-driving cars
get their first real-world shake-
down. Early semiautonomous
systems (like Tesla’s Autopilot)
rely on 3D cameras and radar to
“read” traffic and keep a car in its
lane and thus work best on roads
with relatively few intersections and entry points — i.e., freeways. That’s good
news in Greater L.A., which has 670 congested miles of them. “The myriad
freeways with extensive lane markings make the Los Angeles region seem
well-suited for autonomous vehicles,” says Greg Larson, autonomous vehicle
researcher at the California Department of Transportation.

82 I THE HOLLYWOOD REPORTER 1 11.27.15

Tesla Doesn't Need Your Stinking Car Show

Tesla Motors CEO Eton
Musk, a vocal critic of the
mainstream auto industry,
has a history of ramping up
the rhetoric ahead of
car conventions. Tesla only
sporadically attends auto
shows — preferring, as does
Apple, to stage its own
unveilings. (The company
did ship a Models to the
DefCon hacker convention
in Las Vegas in August.)
During a conference call
with investors. Musk pre-
dicted Tesla will be among
the first to build a fully
autonomous car and that

driving a conventional
vehicle “will be like owning
a horse.” Asked if Tesla
could become as big as GM,
he replied, “It’s notout
of the question.” During the
Detroit auto show in
January, Musk declared
that Tesla’s success should
be measured by “the
speed at which we force
other companies to improve
their electric vehicles.”
Presumably he’s delighted
that Audi, Porsche and,
yes, GM, among others, are
deep in development
of “Tesla killer” electrics.

ILLUSTRATION BY Peter Arkle

& FAMILY

PRIME TIME HOLIDAY SPECIAL

NovemBfr 23 8/7c

Two-hour special features celebrities,
musical talent, holiday advice and more!

* PART OF

^owrdJouyri

The Heart of TV

_ irji!

^wmA

We proudly congratulate the entire
team at The Hollywood Reporter

on five extraordinary years.

Proud supporter of
The Hollywood Reporter.

COMCAST^ NBCUNIVERSAL

CONGRATULATIONS

TO THE

AMAZING TEAM

AT THE HOLLYWOOD REPORTER

ON FIVE TERRIFIC YEARS

aMC

AMERICA

AIIAC

NETWORKS

JjLi SUNDANCETV. M iFCFilms-

J,LFI,IMBCTHRBYANYAILKIATIAIFYS. CAMF. WASS. OG,C

SEE AND

BE UNSEEN.

Finally, privacy at LAX. Our paparazzi-free check-in, Delta ONE^“ at LAX, has a dedicated
entrance and private lounge, so you'll fly seamlessly and discreetly from curbside through
security. See all the ways Delta is setting a new standard at LAX.

LAXTOLUX.COM

adelta

KEEP CLIMBING

A DE LTA %

Based on 2015 upgrades to ticketing lobby, screening checkpoints,
and exclusive Delta ONE^^ at LAX check-in lobby.

Yes, a Lot Can Change in ...

In the brief window since this publication debuted, stars have risen (see: Jennifer Lawrence and Kevin Hart),
legends fell (exit Bill Cosby), megadeals were done (Disney buying Lucasfilm) and revolutions began (diversity,
pay equality, gay marriage). And it was all captured right here in the pages of The Hollywood Reporter

TYPOGRAPHY BY LUKE LUCAS

“I get scared before every
movie,” says Lawrence,
then 21, photographed in
2011 in Los Angeles. “I
don’t find [my character]
until I’m in costume, and
sometimes, unfortunately,
it’s a week into the movie.”

HoUywoods

High 5

The movie star, the executive, the multihyphenate, the comedian
and the activist. THR interviews the quintet of superstars whose names
you barely knew in 2010 — and now comprise today’s A-list

The Movie Star

Jennifer Lawrence

J ust how un-famous

was Jennifer Lawrence
in early 2011? When
she sat for a lunch
interview with THR
that January — eating bacon
and eggs at the Snug Harbor
diner in Santa Monica — not
one person in the restaurant was
hyperventilating. In fact,
nobody gave her a second glance.

At the time, Lawrence, then
20, already had built a promising
resume. The Kentucky native
had played young Sylvia in The
Burning Plain and before that
spent three seasons as a family
counselor s teenage daughter
on TBS’ The Bill Engvall Show.
True, she’d been turned down for
the role of Bella in Twilight,
but she’d petitioned hard for
the lead in Winters Bone, a tiny
indie about an Ozarks girl strug-
gling to keep her family together,
and the film became the dar-
ling of the 2010 festival circuit.

winning the drama grand jury
prize at Sundance. In hindsight,
that modest movie would prove
the launchpad for Lawrence’s
superstardom, landing her nomi-
nations for a Spirit Award, a
Golden Globe and — only a few
days after lunch with THR and
her appearance on the maga-
zine’s Sundance Issue cover — her
first Oscar nom.

Still, there was nothing about
the young actress nibbling bacon
at Snug Harbor that hinted at
the astonishing transformation
to come. Between bites, she
professed admiration for the
careers of James Franco and
Cate Blanchett (with whom she
appears on this issue’s cover),
spoke excitedly about her upcom-
ing role as Mel Gibson’s daughter
in The Beaver and described,
with obvious trepidation, her first
gentle brushes with fame. “I
got recognized on the street,” she
timidly told THR. “Someone

“I had a five-year plan. If it
didn’t work out, I was
going to go back to Kentucky
and become a nurse.”

LAWRENCE

said, T loved Winter s Bone,' and I
was like, ‘You saw Winter sBoneT ’

Today, she is the world’s
highest-paid actress, earning
as much as $25 million a film
(for tentpoles like The Hunger
Games', the fourth installment,
Moekin^ay — Part 2, is set to
open Nov. 20). During the past
five years, she has added two
more Oscar nominations to her
list of triumphs — in 2014 for
Ameriean Hustle (which earned
her a Globe) and in 2013
for Silver Linings Playbook (for
which she won an Oscar and
a Globe) — and there is talk of
another round of noms for
her turn in David O. Russell’s
dynastic drama (set to open
Dec. 25).

Meanwhile, she has her hands
full shooting Morten Tyldum’s
The Imitation Game follow-up
Passengers, a big-budget space

J.LAW’S FIRST THR COVER

The then 20-year-old Lawrence first
graced THR’s cover in January
2011 alongside a prescient headline:
“The Making of an ‘It’ Actress.”

drama co-starring Chris Pratt
that is scheduled for release in
December 2016, possibly around
the time of Lawrence’s next
appearance as the blue- skinned
Mystique in X-Men: Apoealypse.
There also are her sidelines as
a fashion icon (signing a
reported $20 million contract
with Dior), pay-equity activist
(penning a widely read essay for
Lena Dunham’s arts newslet-
ter Lenny that declared, “I’m over
trying to find the adorable’
way to state my opinion”) and
Hollywood’s most brutally
honest interview (telling The New
York Times she Googled “Jennifer
Lawrence ugly”).

It’s impossible to think of
another actor during the past five
years whose career has taken off
with such head-spinning velocity.
Back then, THR saw only a glim-
mer of her potential. “Lawrence’s
name is now part of an impres-
sive honor roll that Sundance has
nurtured: Carey Mulligan in
An Edueation in 2009 and Melissa
Leo in Frozen River noted
the magazine in its cover story,
underestimating the stunning
turn of events that would make
Lawrence the planet’s biggest
female star.

Turns out, though, she had
her path figured out the whole
time, as far back as that lunch.

“I had a five-year plan,” she tells
THR. “I was going to give [act-
ing] five years, and if that didn’t
work out, I was going to go
back to Kentucky and become
a nurse.” Q22D

PHOTOGRAPHED BY Frank W. Ockenfels 3

www.thr.com I THE HOLLYWOOD REPORTER | 89

The Comedian

Kevin Hart

Where he was Five years ago, Hart was an up-and-coming comedian trying to get out of the
shadow of better-known comics like Chris Rock, whom he counts as a mentor. The Philadelphia
native — whose social media footprint now includes 22.9 million Twitter followers and a profile
that reads “My name is Kevin Hart and I WORK HARD!!!” — was making his name on the road but
on the big screen was forced to content himself with playing backup roles in such movies as Little
Packers and The 40-Year-0ld Virgin.

Where he is The 36-year-old is the head of a comedic empire, with a 12-man company, HartBeat
Productions; a proven ability to sell out venues such as Madison Square Garden (he was the sixth
comedian ever to do so); and a resume rife with major movie successes, including a string of No. 1
hits in Ride Along, Think Like a Man Too and About Last Night. His TV creation, BET reality spoof
Real Husbands of Hollywood, now is in its fourth season, and his stand-up act has moved from
theaters and clubs to arenas. Hart is the No. 2 top-earning comedian behind only Jerry Seinfeld,
according to Forbes, raking in $28.5 million between June 2014 and June 2015. Next? “I want to be
a mogul, like Oprah or Jay Z or Tyler Perry,” he told The Hollywood Reporter earlier this year.

Best and worst part of success

The best thing about success is the pats
on the back and seeing the rewards of
your hard work. The worst part of suc-
cess is getting caught up in the false
reality that it gives you. In the entertain-
ment realm, everybody is trying to do
things for you or cater to you, and that’s
not how things go.

Most significant industry shift

Social media. I see the Internet more
as a good thing than a bad thing. You
can promote your own work and take
control of your own life, and that’s
great. But you’ve got to be smart. You’re
going to run into negative people who
have nothing better to do. But I’m a
grown man, so I don’t give those things
my time.

Leading frustration about Hollywood

I don’t let it get to me. If I did, I’d be
paying it too much attention.

Hollywood person who’s killing it
right now

Shonda Rhimes. She’s very creative and
the content she produces is nothing
short of amazing. Would I go on one of
her shows? I would never say never.

Most recent TV binge

Narcos [on Netflix]. It was an amazing
show the way they addressed everything.

Person outside of Hollywood I most
want to meet

I’ve met everyone I want to meet. I met
President Obama, who was very cool, at
a dinner at the White House. He called
me “King Hart.”

Lowest professional moment

All the things that were not good
made me stronger and turned me into
the business-sawy, smart comedian
I am today.

Coolest dinner party invite

My Friday night dinner last week with
my kids and my fiancee. We went to The
Village, an outdoor mall in the Valley.
They treated me to dinner and there’s
nothing more fun.

Talent I wish I had

I don’t want to be ungrateful. I’m
happy with the position I’m in now.

Biggest fear of the next five years

Not becoming the best version of myself
that I possibly can. — Stephen galloway

“The worst part of success
is getting caught up in the false
reality that it gives you.”

HART

90 I THE HOLLYWOOD REPORTER | 11.27.15

PHOTOGRAPHED BY RaiTiona Rosales

“A lot of people make it
and then stop. Why
would I stop when you
can keep going and
keep achieving?” said
Hart, who was first
photographed by THR
March 24, 2013, at
Riverfront Stages in
Glendale, Calif., for
THR’s Comedy Hot List.

The Reign of Kevin Hart

Hart graced THR’s cover in January
2015, timed to the opening of Sony’s
The Wedding Ringer. The comedy,
in which he starred opposite Josh
Gad, went on to gross $64 million
at the North American box office.

HART
BY THE
NUMBERS

$28.5m

Hart’s earnings,
between June ’14 and
June ’15, making him
the No. 2 top-earning
comedian, according
to Forbes.

6th

Comedian to sellout
Madison Square
Garden. Those before
him include Chris
Rock, Dane Cook and
Eddie Murphy.

stand-up tours. His
current What Now?
tour is poised to be
the biggest comedy
tour of all time.

30+

Films he’s appeared
in, including starring
roles in Ride
Along and Get Hard.

22.9m

Twitter followers.

His profile
includes the line:
“Everybody Wants
to Be Famous
But Nobody Wants
to Do the Work”

25th

Most followed person
on Instagram, with
25.2 million followers.

Times he’s
hosted Saturday
Night Live.

500+

Pairs of

sneakers he owns.

$135m

Domestic box office
for Ride Along,
the top-grossing
movie in which
Hart starred. (No. 2
Think Like a Man
grossed $91.5 million.)

www.thr.com I THE HOLLYWOOD REPORTER | 91

The Activist

Ava DuVernay

Where she was “I was a publicist for other people’s movies,” she groans. Among
the projects DuVernay was pushing at the time: Clint Eastwood’s South African
rugby drama Invictus and the Bruce Willis-Tracy Morgan buddy comedy Cop Out.
Still, she carved out enough time to finish her feature helming debut / Will
Follow, which led to her breakout project Middle of Nowhere. The latter won the
best director prize at the 2012 Sundance Film Festival, marking the first time an
African-American woman nabbed the honor.

Where she is The 43-year-old Compton native, who counts Oprah as a pal
and frequent collaborator, saw her Martin Luther King Jr. biopic Selma land
a best picture nomination and become one of the top-reviewed films of 2014.
Buoyed by both her success and her 135,000 Twitter followers, DuVernay
has morphed into one of the most forceful voices advocating for female film-
makers and stories about people of color. Instead of taking up Marvel on its
offer to direct the superhero s pin off B/ac/c Panther, she’s prepping an untitled.
Participant-financed Hurricane Katrina project, which marks her next narra-
tive feature. She simultaneously is readying Queen Sugar, her first TV series,
which she wrote and will direct and produce for OWN and Warner Horizon.
Additionally, she’s finishing postproduction on an untitled feature documentary
for Netflix that she directed, wrote and produced about the American prison
system and its impact on American culture. And if that’s not enough, she is
expanding her distribution collective Array, doubling the number of films by
underrepresented filmmakers that the company releases.

Best and worst part of success

You get to do more. There’s a win-
dow right now for me. I feel
more acceptance for my stories.
The downside is being too stra-
tegic, which is something iVe
been grappling with, not try-
ing to play the angle but focusing
on the things that appeal to me.
You get to a place where everyone
you talk to is talking about the
next right move, and you forget
to talk about, “What do you
really want to do?” The window
is going to close at some point.
The question is, “What did you
do during that time?” I don’t
want my answer to be, “I played
the angles. I played the game.”

Most significant industry shift

The way that we’re consuming
what we watch. Netflix, binge-
watching, destination agnostic
were not terms. It was about
networks, times, dates. Even with
feature films, you had to see it
this way, in this capacity, at this
time. All that has changed. Now
it’s really about the story. It’s
a gift that I became a storyteller
at this time.

Coolest dinner party invite

Dining with the president, the
first lady and some other
friends. It was around the time
I was screening Selma at the
White House. A wow moment.

Leading frustration
about Hollywood

That only 4 percent of studio
directors are women. It defies
culture in so many ways. It
affects the way we see ourselves
and the way we are seen by
others. It gets into the DNA of
how we treat each other, the
policies we make, what we’re able
to say and do to each other.

For there only to be one domi-
nant voice determining what’s
said and saying it is something
that all like-minded people
who believe in dignity of every-
one should be concerned about.
That comes into play for women
and for people of color. It’s not a
problem that can be fixed by the
word “diversity,” whatever that
means. It’s a problem that’s going
to take a multipronged solution
and allies all over the place who
say, “We want to make a change.”

“with the amplification of all
of our voices and technology
and social media, what we say
and what we think can have
influence,” says DuVernay, first
photographed for THR on
Sept. 11, 2012, at the Toronto
Film Festival, where Middle of
Nowhere screened.

“My mission is to continue to ring the
bell for people of color and stories.”

DUVERNAY

Lowest professional nnonnent

When I found out on Selma
that I was not going to get my
writing credit for work that I
had done. We had to abide by
contracts with the previous
producers. That was a low, low,
low moment at a really happy
time. I remember Oprah saying,
“This is not happening to you.
It’s happening/or you. You need
to move forward and focus on
the beauty of the film and what
it’s doing.” It happens to a lot
of screenwriters, but I had never
experienced anything like that
because I had always written,

produced and directed my own
thing to that point. I couldn’t
wrap my mind around how some-
thing like that could happen,
and I couldn’t talk about it at the
time because it’s at a studio and
it’s [Oscar] season.

Thing I wish would be said
onstage at the Oscars

I don’t see that forum as the kind
of place where what I’m think-
ing should be said. I value that
stage so much.

Hollywood person who’s killing
it right now

92 I THE HOLLYWOOD REPORTER | 11.27.15

PHOTOGRAPHED BY Fabrizio Maltese

it s very difficult to have an
uninterrupted meal in L.A.

J. J. Abrams. He’s been able to
build a company around his
vision of film and television. I
love that he’s taking us back
to the roots of a franchise \_Star
Wars] that I’ve always loved.

On the TV side.? Hands down,
Shonda Rhimes.

Person outside of Hollywood I
most want to meet

Assata Shakur, who is in
exile in Cuba for political rea-
sons. She’s someone I’d really
like to meet and talk to. She’s
alive somewhere in Cuba.
Maybe for a future project, you
never know.

Most recent TV binge

Aziz Ansari’s Master of None on
Netflix. It was incredible.

Talent I wish I had

I wish I could pick up the cam-
era and shoot my own stuff like
[Steven] Soderbergh or [Cary]
Fukunaga.

Place that most surprised me

Mumbai. I was surprised by
the number of people who knew
my work there. I shouldn’t
have been. The resonance of the
story of Selma and the people
in Alabama in 1965 aligns with
many of the struggles of peo-
ple in India. The whole history
of nonviolent protest came
out of India and Gandhi, so they
have a very close connection to
[Martin Luther King Jr.’s] story.
The movie didn’t open in
India, but people found it. It
further solidified my mission,
which is to continue to ring the
bell for people of color and
stories from different places,
instead of the same white
male gaze, which is so dominant
in what we see. There are so
many other beautiful stories,
legacies and memories that
should have the same chance to
be shared.

Biggest fear of the next
five years

That I’ll be caught in develop-
ment on something that takes
five years to do and then it doesn’t
get made. — tatianasiegel

The Executive

Sarandos was first
photographed for
THR on Nov. 28, 2011,
at the Netflix offices
in Los Gatos, Calif.

Coolest dinner party invite

The one I enjoyed the most was
a dinner at my house with
Ricky Gervais, Bill Hader, Will
Arnett and Mitch Hurwitz. We
laughed for five hours straight.

Hollywood person who’s
killing it right now

[Disney CEO] Bob Iger. He’s
about to release the biggest
movie of all time {Star Wars:
The Force Awakens] on the
heels of all of the success that
they’ve had with the Marvel
films. It’s almost a predict-
able slate of success, which is
unheard of in Hollywood.

Most recent TV binge

The new season of Portlandia.

Ideal Friday night

At home in bed, watching
movies with my wife.

Best gift I’ve received

At the start of production
for House of Cards, the guys
from Media Rights Capital
gave me a poster of the Rat
Pack — Sammy Davis Jr.,
Frank Sinatra, Dean Martin
— signed to Jilly Rizzo,
who was Sinatra’s buddy. They
had bought it at an auction
of Jilly ’s belongings. And then
my wife [Nicole Avant, a
former ambassador to the
Bahamas] got President
Obama to sign our Hollywood
Reporter cover for the politi-
cal issue. It says, “Ted and
Nicole, Love you, Barack.”

It’s hanging in my home office.

PHOTOGRAPHED BY Robyii TwoiTiey

Ted Sarandos

Where he was Ask Netflix’s chief content officer what has changed the
most in the past five years, and his response is immediate and emphatic:
“Everything!” he says, recalling a time in which his streaming service simply
licensed other people’s programming. In fact, the company only began
streaming content in 2007. “Five years ago, we were barely international,
and there was no original programming,” he adds. “Now, my entire focus is
international and original films and television.”

Where he is Since debuting its first original series. House of Cards, in
2013, Netflix has become a first stop for producers and stars, including Jenji
Kohan {Orange Is the New Black), Aziz Ansari {Master of None) and Judd
Apatow {Love). And why not? The famously hands-off service boasts more
than 69 million global members and already has agreed to pour a jaw-
dropping $5 billion into its 2016 programming budget. With his clout in the TV
market firmly established, Sarandos, 51, has begun pushing aggressively
into documentaries and feature films, too. His team has mounted an ambi-
tious Oscar campaign for its first drama, Cary Fukunaga’s Beasts of No
Nation, just as it did for 2013 doc The Square and 2014 doc Virunga, both
of which scored noms. He also has other film projects lined up with Adam
Sandler, Angelina Jolie Pitt and Christopher Guest.

Biggest misconception
people in Hollywood have
about me

That this is disruption for
disruption’s sake. It’s really
about fixing things, not try-
ing to break things. And that
I don’t have any interest in
the health and well-being of
movie theaters. I’m trying
to expand options and choice,
and that doesn’t have to be in
conflict with theaters.

Pinch-me moment

People who know me know
that I’m obsessed with The
Godfather — so it was sitting
behind Francis Ford Coppola
at the Oscars last year and
having him turn around and
introduce himself

Best and worst part
of success

The best part is meeting your
heroes and the worst is that

Sarandos’ First Cover

The Netflix content chief with
his wife, Avant, for THR’s 2012 Politics
Issue. Sarandos’ second cover
came a year later when he posed with
Netflix talent Kevin Spacey, Robin
Wright, Jason Bateman and Arnett.

Talent I wish I had

A musical talent. I can’t play
anything.

Thing I wish would
be said onstage at
the Oscars

That they want to
thank Netflix.

Biggest fear of the
next five years

The ability to main-
tain this pace. We’ve
had rapid interna-
tional expansion,
and our shows have
gone from four to
12 to 20 to 30 over
the past three
years. — laceyrose

The Multihy phenates

Phil Lord and Chris Miller

Where they were Based on their success with the animated film Cloudy With
a Chance of Meatballs ($243 million worldwide), Lord and Miller had persuaded
Sony to let them make the rare leap to live action with 2012’s 27 Jump Street
reboot. “We kept saying, ‘Wouldn’t it be funny if this movie was good?’ ” says
Lord, who met Miller at Dartmouth College. “That was the joke of that movie:

I think we can surprise people by making it not be terrible.” Additionally, they had
just turned in the first draft for their next animated adventure: The Lego Movie for
Warner Bros., which would go on to earn $469 million worldwide.

Where they are The duo’s to-do list is a dizzying mix of franchises, for both
film and TV. Lord and Miller, both 40 (Lord is in a long-term relationship with
jewelry designer Irene Neuwirth; Miller is married with two young kids), are pro-
ducing the next batch of Lego films, including The Lego Batman Movie, and
future Jump Street movies, including a female-centered spinoff. They’re writ-
ing and producing an animated Spider-Man movie for Sony, and they created
the beloved Fox comedy series The Last Man on Earth, now in its second season.
There’s a Son of Zorn live-action/animation hybrid Fox comedy coming and a
potential TV series based on the Serial podcast, too. But all those pale in com-
parison to the Han Solo Star Wars spinoff, which the pair has signed on to direct.
Says Miller, “Now, somehow, we’re 10 times busier than we were when I thought
we were too busy and I was going to die.”

Monnent I knew we nnade it

MILLER I always feel like
the hammer s going down right
around the corner, and I think
that level of constant anxiety is
what keeps us from getting
too lazy. Someone once told us
that the only positive emotion
you can feel in the entertain-
ment business is relief — relief
that something s not a failure.
So, we get that sweet, sweet sigh
of relief from time to time,
but never a “We Ve made it!
High five!”

LORD It just raises the stakes for
us when we re eventually found
out to be frauds. We’ll have that
much further to fall. We sound
like wimps!

Biggest change to our lives
since 2010

LORD People s expectations
have dramatically changed in
a strange way. It’s not that
people expect us to do a good
job now. We’ve made a career
of outperforming expectations,
so now people expect us to
outperform expectations — but
instead of it being on some-
thing that seems really stupid,
it’s on a Star Wars movie.

Weirdest misconception people
have about us
MILLER People think we do a
lot of drugs because we put a
lot of drug references in our
movies. Our stuff is very easily
enjoyed in an altered state,
and we are second-generation
“stoney” filmmakers. But
the truth is, we don’t really do
drugs, which is evidenced by
how inaccurate our visual repre-
sentations of drug trips are.
LORD And if you look at any
of the sex scenes we have
directed, it would appear that
we also are celibate.

Last project we turned down

LORD Clearly we turn down
nothing! (Laughs^ It has slowed
down a little bit since we
declared what our next movie
is going to be. You declare
you’re doing a Star Wars movie,
and they leave you alone.

How we divide our work
LORD We’re doing everything
together still. That might mean
if Chris reads something and
has a strong take on it, I’ll read
it but let him take the lead
and just add anything I may

have to add to it. But, for the
most part, we’re typically both
paying attention to everything.

Our lowest moment on the job
MILLER When they took Clone
High [an MTV animated series
that Lord and Miller co-created
with Bill Lawrence in 2002]
off the air because of the hunger
strike in India over the [depic-
tion of] Gandhi on the show.

LORD That was bad. We spent two
years working on that show,
and it was our dream to have
an animated show together.

There was a lot at stake. It got
canceled, and there was nothing
we could do about it. We had
staked everything on that, so it
was like, “We’re never going to
work again.”

Non-Hollywood person I’m
dying to meet
MILLER I met him: [Author]
Michael Lewis. I acted like I
was meeting The Beatles
when I met him. We were visit-
ing Jonah Hill on the set of
Moneyball, and he showed up.
LORD [Chris] screamed!

94 I THE HOLLYWOOD REPORTER | 11.27.15

“Now, somehow, we’re 10 times
busier than we were when I thought
we were too busy and I was going
to die,” jokes Miller (right). He and
Lord were first photographed for
THR on May 30, 2014, for an interview
ahead of 22 Jump Street at their
20th Century Fox Studios office.

• )

MILLER Jonah still to this day
makes fun of me.

LORD iVe almost met [Talking
Heads lead singer] David Byrne
like three times, and it has
never worked out. That would
be a personal triumph.

Hollywood person who’s killing
it right now

LORD We both went crazy for
[Lin-Manuel Miranda’s
Broadway musical] Hamilton.
Nobody has told a more
original story this year. And
then another team that is

obnoxiously prolific: Seth Rogen
and Evan Goldberg. They’re
the most ambitious stoners in the
history of planet Earth. They
continuously put out original
ideas, things that they gener-
ate themselves that feel unique
and are really funny and smart.
MILLER I’d add the Coen
brothers, Amy Schumer and
[Nathan Fielder of Comedy
Central’s docu-reality comedy
series] Nathan for You.

Talent I wish I had

MILLER I really wish I could play

the piano really well without hav-
ing to practice.

LORD I wish I could remember
people’s names. I’m supposed to
remember so many.

Place that surprised me most
MILLER We shot \^2lJump Street
and 22 Jump Street] in New
Orleans, which is one of the weird-
est and most wonderful cities
in America. It feels like its own
country in Europe somewhere.

Best gift I’ve received

LORD [^Lego Movie composer]

Mark Mothersbaugh inexplicably
gave us the Devo hat he wore
on tour. Inside, the hat has a card
that says, “Please return to
Mark Mothersbaugh.” He would
throw it into the audience
every show and then get it back.
Then he just said, “Hey you
guys, want this.?”

MILLER Richard Grieco gave us
the bandana that he wore in his
back pocket for every episode
of [late-’80s Fox series] 21 Jump
Street and [its spinoff] Booker.
LORD Oh, that’s gotta be num-
ber one! — REBECCA FORD

PHOTOGRAPHED BY Christopher Patey

www.thr.com | THE HOLLYWOOD REPORTER | 95

T he history of
Hollywood
is a series of
innova-
tions and
adaptations, from
silent movies to talkies
to television to VHS
to cable TV to digital
3D and over-the-top
streaming. Perhaps
no era has produced
more change more
quickly than the past
five years. Consider
that, at the start of 2010,
Netflix had spent
$31 million in the pre-
vious 12 months on
movies for its fledgling
streaming service.

In 2016, Netflix says
it will spend $5 billion
on content, part of
a tidal wave of television
and movies migrating
online. Luckily for
those (and many others
on these pages), the
era of THRs magazine
is the era of change

96 I THE HOLLYWOOD REPORTER | 11.27.15

33 Definl

Moments

Past Fire

JAN. 29, 2011 Comcast buys NBCUniversal (i)

Hollywood synergy hits its peak when a $31.5 billion
deal combines the NBC broadcast and cable net-
works and the Universal movie studio and theme
parks with America s largest cable and broadband
provider. After five years of executive upheaval at
nearly all of its units (not to mention a savage
parody of “Kabletown” on NBC s 30 Rock), NBC is
the No. 1 broadcast net, the cable nets are projected
to generate $2.8 billion in 2015 profit, and Universal
is having a record year at the box office. But the
jury’s still out on the long-term wisdom. “They got
NBCU for a good price,” says analyst Craig Moffett.
“But it’s still not clear that there has been any real
strategic synergy benefit out of owning both content
and distribution under the same umbrella.”

MARCH 31, 2011 Mad Men’s contract standoff
ends, era of the Power Showrunner begins ( 2 )

Credit the protracted negotiations among Matthew
Weiner, studio Lionsgate and network AMC (and a
$10 million-a-year deal) for signaling the new influ-
ence of the showrunner. Weiner’s not alone: Vince
Gilligan, Ryan Murphy and Shonda Rhimes all have
amassed followings as large and passionate as
their stars’. “If you asked kids coming out of college
five years ago what they wanted to do, they’d say
they want to be in the movie business,” notes ICM
Partners president Chris Silbermann, who counts
Gilligan and Rhimes as clients. “Now, you probably
see more who want to be in TV.”

MAY 13, 2011 Bridesmaids grosses
$288.4 million worldwide bypauleeig (3)

“We were in production when I
found out the whole town was focused
on how this movie was going to do. A
couple of female writer friends of mine
were pitching their own female-led
comedy at the time, and they were told by executives
at studios, ‘We can’t make any deals for movies like
this because we have to see how Bridesmaids does.’
That was the chilling moment because you go: ‘Oh

( 2 )

AMC’s Charlie Collier (left) and Weiner at
the Emmys before the historic negotiation.

( 3 )

Melissa McCarthy became a star in the
Feig-directed Bridesmaids.

STUDIO STOCKS: 5-YEAR WINNERS AND LOSERS

'Adjusted for dividends and stock splits

1 Lionsgate |

1 Netflix j

1 Disney

Comcast I

1 CBS

Time Warner J

1 Fox/News Corp j

Viacom

Discovery

Sony

DreamWorks Animation

NOV. 3, 2010

$7.18

$24.49

$33.72

$18.89

$16.33

$30.75

$13.93 1

$35.16

$21.77

$32.86

$36.62

NOV. 3, 2015

$38.88 1

$109.74

$115.54

$62.56

$48.24

$77.30

$31.50 1

$51.29

$31.08

$28.91

$20.31

% Change

+441.5%

+348.1%

+242.6%

+231.2% j

P +195.4%

+151.4%

+126.1%

+45.9%

+42.8%

-12.0%

-44.5%

Sol

D ^ z
D Z

^ > s
^ s ^

I § ^

m Z

^ I E

> ^ i

iii

sii

1 I d
t ^ 5

o 9 ^
£ > §

2 i I

< o z

E t 5

111

ill

F S p
2 js 5

|i =

|Ea

< z z

the

ears

shit. All this pressure is going to be put on this one
movie.?’ When it was coming out, we’d been told
we had to make $20 million opening weekend or else
we were going to be considered a failure. The week
running up to it, tracking was not good. [Opening]
night, Melissa McCarthy and her husband, Ben
Falcone, came over for dinner, and that was when I
heard it was looking like $20, $22 million. By the
time it got to $26 million, we jumped into the car and
went to the ArcLight. The theater was packed, and
it was rocking. The hope was that Bridesmaids would
make everyone go, ‘OK, great. Now it’s no longer
an issue.’ But that wasn’t the case. There wasn’t a
flood of projects starring women — just a few came
up. The Heat felt like a giant test, and then again with
Spy, I was trying to break into male-dominated
territory. There is still a lot of pressure because every-
one can still say, ‘Well, it would have done better
if it wasn’t women.’ We still have to break that down,
not only in our country but in other countries.
Ghostbusters will be a giant test for that. It’s a giant
tentpole hung on four very funny actresses.
Honestly, I feel more pressure on this than any of
the others. So, it never ends. There’s still a long
way to go.”

MAY 25, 2011 The Oprah Winfrey Show ends (4)

The Queen of Daytime’s transition to OWN brings

(4)

Oprah Winfrey’s final show drew
16.4 million viewers.

(5)

Kardashian filed for
divorce from
Humphries after just
72 days.

( 6 )

The Fifty
Shades movie
grossed
$570.5 million.

Taylor Kitsch starred in both 2012 flops
John Carter (pictured) and Battleship.

Hunger Games grossed $694.4 million
worldwide and made Lawrence a star.

an end to an age of launching personality-driven
talkers. Only Steve Harvey has debuted a hit
show since.

OCT. 5, 2011 Steve Jobs dies

Many predict Apple will atrophy without its vision-
ary co-founder. Instead, under CEO Tim Cook, its
stock skyrockets 127 percent since that day.

OCT. 28, 2011 YouTube reveals a $100 million
slate of new channels

Everyone from Pharrell Williams to the WWE gets
a dedicated vertical in the Google-owned video
site’s first major bid for premium content. By most
accounts, the initiative fails, and exactly four years
later, YouTube Red, the $10-a-month, commercial-
free subscription service for video and music (with
some originals), launches to similar fanfare.

OCT. 31, 2011 Kim Kardashian files for divorce
from Kris Humphrieses)

Months later, she begins dating Kanye West (whom
she’ll marry in 2014), providing fodder for hit real-
ity shows, late-night comics, seemingly thousands
of magazine covers and endless family extensions.

MARCH 2012 Random House buys Fifty Shades
of Grey ( 6 )

What started as Twilight fan-fiction becomes a
worldwide phenomenon with more than 125 million
books sold and an R-rated movie franchise.

MARCH 9, 2012 John Carter bombs big (?)

Disney takes a $200 million write-down on this
sci-fi head-scratcher, which is joined in the flop
bin by Warner Bros.’ Dark Shadows (May 11) and
Battleship (May 18). In response, studios
step up their risk-aversion and lean more heav-
ily on sequels, shared universes and prebranded
blockbusters.

MARCH 23, 2012 The Hunger Games
opens to $152.5 million (8)

Hollywood learns that a female-fronted action
franchise can debut just as big as those comic
book movies. And in the process, Jennifer Lawrence,
unknown a year earlier, becomes a superstar.

FILM CHIEF MUSICAL CHAIRS: 5 YEARS OF FIRINGS AND UPHEAVAL

MARCH 31, 2011

APRIL 20,

SEPT. 14, 2012

JAN. 28,

Alan Horn is nudged

2012

Fox film co-head

2013

out at Warner Bros, as Time

Disney admits

Tom Rothman is

The so-called

Warner CEO Jeff Bewkes

its experimental

asked to step down.

Warner Bros.

divides the top job among

hiring of TV

leaving fellow

“bake-off”

a trio of execs: film chief Jeff

exec Rich Ross to

chairman and CEO

is over as

Robinov, TV head

run its film

Jim Gianopulos

Bewkes names

Bruce Rosenblum and digital

studio failed and

to run

Tsujihara to

guru Kevin Tsujihara.

replaces
him with Florn.

the studio alone.

run the studio.

JUNE 24, 2013

Robinov,

passed over at
Warners, quits to
launch Studio 8
with backing
from China’s Fosun
Group and Sony.
Rosenblum moves
to Legendary
Television.

SEPT. 9, 2013

NBCUniversal sacks
film chief Adam Fogelson
and replaces him
with NBCU international
president Jeff Shell, as
Donna Langley is promoted
to chairman of the
studio. Fogelson soon joins
Robert Simonds’ upstart
studio STX Entertainment.

NOV. 3,
2014

Stacey Snider

exits

DreamWorks to
become
Fox co-chair
under

Gianopulos.

2011

2012

2013

2014

FEB. 5, 2015

In the aftermath
of the Sony
hack and a string
of box-office
disappointments,
Amy Pascal
steps down
as studio co-chair.
CEO Michael
Lynton remains.

2015

FEB. 24,
2015

Rothman,

who was running
Sony’s Tristar
label, is
named Pascal’s
replacement.

www.thr.com I THE HOLLYWOOD REPORTER | 97

1 Prison Time The Feb. 20, 2014, death of camera operator Sarah
Jones, 27, in a train accident filming the Gregg Allman pic led to
Randall Miller becoming the first director sentenced to prison for an
on-set death (he pled guilty and will serve two years).

2 Set Safety Apps The International Cinematographers Guild
has introduced the ICG Safety app with industry news and info
about reducing risks on set. Pledge to Sarah, a filmmaker group,
designed the similar app Set Safety with funding from Indiegogo.

APRIL 9, 2012 Facebook pays $1 billion
for Instagram

Mark Zuckerberg signals a new tech boom with this
purchase, which contributes to sky-high valuations
for Snapchat, Vice and other digital media firms.

APRIL 16, 2012 Good Moming America
beats Today by 13,000 viewers

The morning news battle becomes an all-out war
as NBC s 16-year winning streak ends. Blame a messy
transition from anchor Ann Curry to Savannah
Guthrie and ABC’s tweaked format that is faster
paced, multi-anchor-focused and more tabloid.

( 9 )

Disney and Marvel have scheduled
Avengers movies through 2019.

“It was just a truly cathartic moment,” says James
Goldston, president of ABC News. “And it was a
validation of our approach to the craft of making
morning television.”

MAY 4, 2012 The Avengers^ $207.4 million bow
shows “universes” are the new sequels (9)

The $1.52 billion worldwide gross of Marvel Studios’
team-up jump-starts Holl 3 rwood’s infatuation with
“shared-universe” movies. Warner Bros, soon follows
(with a DC hero slate scheduled through 2020),
as do Paramount {Transformers), Universal (mon-
sters) and Disney’s Lucasfilm {Star Wars).

• FIRST 7 DAYS OF DEALS •

But Everything Sounds So Promising When Announced

Cameron’s 2014 /Avatar sequel, that Wile E. Coyote movie and other movie projects not quite on schedule

On the very first Deals page in
November 2010, THR noted
that Aronofsky had signed on
for Wolverine and Machine
Man (he also was interested in
Warner Bros.’ Gangster Squad,
a gig given to Zombieland’s
Ruben Fleischer). He later left
the projects {Wolverine
went to James Mangold and
was released in 2013) and
directed Noah, which made
$363 million globally.

Weeks after this announce-
ment, Emmerich stopped
working on The Zone, prompt-
ing speculation that he and
Sony did not want to compete
with similar alien found-
footage entry Apo//o 78, which
Dimension opened in 2011. He
instead directed White House
Down and Stonewall, two flops.
The Zone, meanwhile, still is in
development with Emmerich’s
company Centropolis, says a
rep, but it’s unlikely the director
will reboot it anytime soon.
His Independence Day sequel
is set for June, and he likely
will move on to a remake of his
1994 sci-fi hit Starpate.

After years of development,
the Acme warehouse project
found new life in August 2014
when X-Men: First Class scribes
Ashley Miller and Zack Stentz
signed on to write a new draft
and Focus’ Glenn Ficarra and
John Requa entered talks to
direct. The Hagemans later got
story credit on The Lego Movie
and are writing the Warner Bros.
Lego franchise spinoff N/n/agfo.

A Soal<>cl

Cleopatra became infamous
in the Sony hack, which
revealed tensions between
producers Scott Rudin and
Amy Pascal and star Angelina
Jolie Pitt and talk of David
Fincher replacing James
Cameron as director. Ang Lee
and Paul Greengrass flirted with
the project since Cameron left.

So much for 2014. Or 2015.
Cameron still is working on the
sequels, the first of which
now is scheduled for 2017. And
there will be three follow-
ups, not two, with writers Josh
Friedman {War of the Worlds),
Rick Jaffa and Amanda Silver
{Jurassic World) and Shane
Salerno {Armageddon) collabo-
rating on the scripts.

The Saddle Ranch and Patridge
series premiered on the same
night (April 17, 2011, to about
1 million viewers each), and both
were canceled after one
season. Patridge now hosts the
travel series 1st Look on N BC.

The project did not go to
series, and Diggs largely has
stuck to acting since.

De France, the female lead
opposite Matt Damon in
Clint Eastwood’s drama, no
longer is with WME
and mostly has worked on
foreign-language films.

The rapper and occasional
actor (remember that
Pitch Perfect 2 cameo?) left
forWMEin2011.

98 I THE HOLLYWOOD REPORTER | 11.27.15

DEATH ON A MOVIE SET: S

WAYS THE MIDNIGHT RIDER TRAGEDY HAS CHANGED HOLLYWOOD SAFETY

3 Activism Jones’ parents still fundraise for set safety via the
Sarah Jones Film Foundation, and the ICG and Local 479 guilds
have partnered with Warner Bros. TV and The Vampire Diaries (on
which Jones worked) on an internship for camera operators.

4 Safety Hotline IATSE, the guild that represents
camera operators and other crewmembers, has set up
a hotline (1-844-IA-AWARE) for members to flag
safety problems on dangerous film or television sets.

5 “The Jonesy” Production crews worldwide have dubbed
the first shot of each day “the Jonesy.” Crews share in a
social media movement called “Slates for Sarah” by posting pictures
of production clapboards with labels commemorating Jones.

JUNE 7, 2012 South Park kicks ass in court over
“What What (In the Butt)” (10)

Influential legal opinions can emerge from strange
places. Even the derriere. A 2008 episode of the
Comedy Central stalwart titled “Canada on Strike”
— satirizing the WGA work stoppage — features the
Butters character doing his own version of Samwelfs
silly viral video “What What (In the Butt)” to
accrue enough “Internet money” to buy olf strik-
ing Canucks. A federal judge decides this is fair
use, a “transformative” sendup of web culture. On
appeal, the owner of the “WWITB” video argues that
when ruling on early motions to dismiss,
judges are limited in what evidence
they can consider — and that they
can t address fair use. But in an opin-
ion that soon is adopted by other
appellate courts, 7th Circuit Court of
Appeals Judge Richard Cudahy holds otherwise.
Since then, Brownmark Films v. Comedy Partners
became a useful tool for entertainment and media
companies to get a quick dismissal of copyright
cases. Alonzo Wickers, one of the winning attorneys
(and occasional THR lawyer), says the case made
it “much more likely that networks, production com-
panies and their insurers will give people greater
freedom to rely on fair use.”

OCT. 30, 2012 Disney acquires Lucasfilm (ii)

The Force is with CEO Robert Iger, who pays $4 bil-
lion and persuades Kathleen Kennedy to run George
Lucas’ company and turn Star Wars into a likely
movie-a-year cash cow across all Disney divisions.

NOV. 7, 2012 Megyn Kelly stands up to Karl Rove
on election night (12)

In a move that would foreshadow her ascension at
Fox News, Kelly calls the election for Barack Obama
despite Rove’s on-air assertion to the contrary —
and she even walks over to the number- crunchers
to prove him wrong. Notes news analyst Andrew
Tyndall, “Without the walk, she would not have been
put on center stage to confront Donald Trump in
the August debate.”

FEB. 1, 2013 Netflix premieres
House of Cards (13)

There was a time that “television”
referred to over-the-air or cable net-
works and “binge” meant eating or
drinking too much. Then Netflix’s Ted
Sarandos (right) pays $100 million for two seasons
of a David Fincher-produced political drama and
puts the first 13 episodes online all at once. “In the
back of my head, it was, T don’t know
why they would do it with us,”’ recalls
Sarandos of the negotiations that
would fundamentally alter the TV
business and lead to digital com-
petitors in Hulu, Amazon and even
HBO and CBS. The two -season commitment was
the clincher: “But I still wondered why they did it.”

( 10 )

South Park’s “What What (In the Butt)”
sendup led to an influential court ruling.

( 11 )

Disney’s Iger (left) revealed the Lucasfllm
deal in a “signing video” with Lucas.

( 12 )

Fox News cameras followed Kelly as she
marched over and confirmed Obama’s win.

(13)

House of Cards’ first season scored nine
Emmy noms for Netflix.

(14)

Fallon was a guest on Leno’s Tonight
several times before scoring the job.

DUCK DYNASTY
VIEWERS (15)

2012 2012 2013 2013 2014 2014 2015

MARCH 13, 2013 Rob Thomas launches a
Kickstarter campaign for Veronica Mars

Crowdfunding meets studio economics as the film-
makers raise $5.7 million from more than 90,000
donors, winning a green light from Warner Bros.

APRIL 3, 2013 Jay Leno welcomes Jimmy Fallon (14)

Before Colbert replaced Letterman, Wilmore
took Colbert’s job, Corden got Ferguson’s time slot
and Noah ascended to the Stewart throne, NBC
pulled off perhaps the biggest coup ever in late night.
Four years after a botched transition from Leno
to Conan O’Brien on The Tonight Show, Fallon not
only takes over the venerable show from a willing
and genial Leno, he has since grown its audience,
often doubling his competitors in the ratings. Late-
night chronicler and THR contributor Bill Carter
says the shift “qualifies as something of a master-
piece in the difficult art of maneuvering talent on,
and especially off, the stage.” How.? “Partly it was
the luck of timing,” says Carter. “Jay was more ready
to abdicate as he hit his mid-60s, an opportunity
Conan never enjoyed; partly it was the involvement
of some different executives as well as the deft
machinations of Lome Michaels in the background.
But the result is continued dominance without
the accompanying dissonance.”

MAY 24, 2013 Mike Darnell gets the boot at Fox

The exit of reality TV’s evil genius responsible
for Temptation Island and Joe Millionaire signals
the end of the shock era. The X Factors failure
that fall marks similar hard times for competi-
tion shows.

JUNE 28, 2013 News Corp. splits in two

Whether or not Rupert Murdoch’s move is in
response to the hacking scandal at his U.K. news-
papers, the creation of 21st Century Fox ensures
the film and TV assets will be protected from News’
declining print properties. Notes Derek Blaine of
SNL Kagan, “Some investors feared that Murdoch
would go on a print buying binge prior to the split,
so this must have been quite a relief.”

DEC. 18, 2013 A&E Suspends Duck Dynasty’s
Phil Robertson (15)

The top show on cable temporarily loses its star after
GQ publishes his anti-gay comments (he is rein-
stated after a fan outcry), and ratings for the show
— and the entire genre — never recover.

DEC. 18, 2013 WME buys IMG

CAA sold a majority stake to TPG
Growth. ICM became ICM Partners.

Jeff Berg launched and folded
Resolution. And UTA pulled off a
midnight raid of a dozen CAA com-
edy agents. But no talent agency move has altered
the business more than WME and owner Silver Lake
Capital’s bold (and debt-financed) $2.3 billion deal
for the sports and fashion powerhouse.

www.thr.com I THE HOLLYWOOD REPORTER | 99

OCT. 16, 2014 Hannibal Buress calls Bill Cosby
a “rapist” on a Philadelphia stage (15)

''Thirteen?! And ifs even worse beeause Bill Cosby has
the f—ing smuggest old-blaek-man publie persona that
I hate. 'Pull your pants up, blaek people. I was on TV in
the '80s. I can talk down to you beeause I had a successful
sitcom. ' Yeah, but you raped women. Bill Cosby. So,
brings you down a couple notches. 'I dorit curse onstage. '
Well, yeah, you're a rapist, so. I'll take you sayin lots
of motherf—ers on "Bill Cosby: Himself " if you weren't a
rapist. ... If you didn't know about it, trust me. You
leave here, and Google 'Bill Cosby rape. 'It's not funny. "

NOV. 24, 2014 Sony reveals a hack (16)

Of all the fallout from the largest corporate security
breach in U.S. history — the embarrassing emails,
the privacy violations, the canceled (then reinstated)
release of The Interview and the exit of co -chair
Amy Pascal — perhaps the most lasting impact will
come from the reveal that Jennifer Lawrence was
paid less ior American Hustle than her male co-stars.
The movement toward equal pay and more oppor-
tunities for women in Hollywood picks up key
momentum with the hack and in Patricia Arquette s
Oscar speech three months later.

JAN. 7, 2015 Empire premieres on Fox

A black soap opera dominates primetime, showing
Hollywood that diversity makes financial sense.

JAN. 15, 2015 #OscarsSoWhite

Zero nonwhite acting noms prompts
a web meme, and Academy presi-
dent Cheryl Boone Isaacs launches
A2020, an initiative to diversify the
group and the industry.

FEB. 10, 2015 NBC suspends Brian Williams (17)

The moral: Lying on-camera doesn’t get an anchor
fired now, it just gets him reassigned to MSNBC.

APRIL 7, 2015 HBO launches HBO Now

In its battle with Netfiix, the premium cable net-
work becomes available without a cable subscription,
fundamentally altering the TV ecosystem.

JUNE 16, 2015 Trump runs for president (18)

Reality TV finally gets a Ronald Reagan (he hopes).

JUNE 26, 2015 Supremes back gay marriage

With Hollywood’s help, a 5-4 vote of the high court
legalizes same-sex unions nationwide.

JULY1, 2015 Rupert Murdoch turns
21st Century Fox over to his sons (19)

A media mega mogul sets his legacy.

JULY 30, 2015 Relativity files for bankruptcy

A studio goes belly up. Will film investors be wary
of future deals.? History suggests no. — matthew

BELLONI, PAUL BOND, ERIQ GARDNER, MARISA GUTHRIE, LACEY ROSE
AND AUSTIN SIEGEMUND-BROKA

100 I THE HOLLYWOOD REPORTER | 11.27.15

( 15 )

Buress’ rape comments led to dozens of
women (and counting) coming forward.

( 16 )

“It is time for us. Equal means equal,”
Arquette said at the Oscars in February.

( 17 )

Williams served a six-month suspension
before becoming MSNBC’s news anchor.

^ 1 .. i. ^ .

( 18 )

Trump offered actors $50 to cheer for him
as he revealed he’s running for president.

( 19 )

Rupert Murdoch (center) for years wanted
Lachlan (left) and James to take over Fox.

• CRITIC’S NOTEBOOK •

/,r/5 snows,

WHAT TO WATCH?

By Tim Goodman

ive years ago, there was no House of Cards or Orange
Is the New Black. Amazon was shipping products,
not signing Woody Allen to make television. Nobody
thought Jerry Seinfeld, creator and star of one of TV’s
greatest series, would make a show for the Internet.

Around that time, I was hired as THR’s chief television critic,
and I would like to think that I knew big changes were coming to
the industry — but maybe not this big.

As we burst out of the Golden and into the Platinum Age
of Television, the total number of series (and distribution
platforms) soared, leaving audiences drunk on choice. It goes
almost without saying that qualitatively, television is off the
charts today — even with two of the best dramas. Mad Men
and Breaking Bad, no longer on the air. There were a total
of 213 scripted series in primetime (8 to 11 p.m.) in 2010, broad-
cast and cable combined, according to data provided by FX
Networks. Now there are more than 400, counting broadcast,
cable and streaming. Throw unscripted into the calculation,
and in 2014 there were a staggering 1,715 shows in primetime.
Who would want to sit at a desk and count how many more
appeared in 2015? When is it all too much?

What can’t be overstated about the giant swell in TV offer-
ings is the stress it has put on both creator and audience. It’s a
gold rush out there for content creators. Everybody wants con-
tent. There are more people willing to distribute it than ever. And
there essentially are no constraints on what can be depicted.

The downside? Viewers can handle only so many new shows.
While they’re certainly expanding their DVR playlists, they’re
also less likely to watch in a timely manner and more likely to give
up on a show quickly because there is no lack of shiny new
options everywhere they look. What this means is you can cre-
ate a gem like Manhattan, but that doesn’t mean viewers will
seek it out it on WGN America. And you can hatch an off-kilter
little drama called Fortitude — Michael Gambon! Stanley Tucci!
Christopher Eccleston! — but try finding people who’ve ever
heard of it, or of the cable channel. Pivot, that airs it.

Still, as much as it worries me when I discuss great series with
people who are TV-sawy and yet have never heard of the shows
I’m talking about, I have to remind myself that the very existence
of those shows is wonderful. Someone will discover them one
day, regardless of whether they were canceled before their cre-
ative prime. In the future, discovering little TV gems will be like

BURESS: CINDY 0 RD/GETTY IMAGES. MURDOCH: JASON KEMPIN/GETTY IMAGES. ARQUETTE: JOHN SHEARER/INVISION/AP. TRUMP: KENA BETANCUR/AEP/GETTY IMAGES. MASTER'. K.C. BAILEY/NETELIX.

5 BIGGEST HOLLYWOOD DEALS OF THE PAST 5 YEARS

1. $67.2 BILLION

AT&T Buys DirecTV (2015) The
phone company already had
U-verse but became a major TV
provider with the satellite service.

The company boasts a com-
bined 25 million U.S. subscribers.

2. $31.5 BILLION

Comcast Buys NBCUniversal
(2011) The cable giant took its stake
of NBCU to 51 percent, while
General Electric held 49 percent.
Two years later, Comcast paid another
$16.7 billion for the rest of NBCU.

3. $4.1 BILLION

Walt Disney Co. Buys Lucasfilm
(2012) Lucas properties
{Star Wars, Indiana Jones) came
with the San Francisco-
based company, which led to
Force Awakens (Dec. 18).

4. $2.9 BILLION

Access Industries Buys Warner
Music Group (2011) Len Blavatnik’s
company bested bidders Ron Burkle,
Sony, Universal Music and others
for the troubled firm after its stock
plunged 70 percent in four years.

5. $2.6 BILLION

Dalian Wanda Group Buys AMC
Entertainment (2012) Through
deals like this, the Chinese firm
has become the world’s largest
operator of movie theaters, with
roughly 7,300 screens globally.

Source: PricewaterhouseCoopers

discovering great bands you’d never heard of and now want to
share with all your friends.

For every disheartening “never heard of it” moment, there
seems to be a heartwarming, zeitgeist-y counter moment. This
summer, it was USA’s Mr. Robot, a series that proved that living
in the Too Much TV era didn’t mean you’d already seen everything.
Visually daring and freshly told, the show offered new twists on
old tropes and featured an Emmy-worthy performance from star
Rami Malek. Hell yes to still being surprised. (By the way, as the
revamped THR’s first issue came out five years ago, I was busy
tracking a tiny show over on poor, ignored PBS called — what
was it now? — oh, right, Downton Abbey.)

Meanwhile, the struggle for broadcast networks these days is
real. How many of them wish they had a time machine so they
could travel back to 2010 and make the changes necessary to not
be dysfunctional dinosaurs in 2015? That’s a trick question —
the answer is “probably none”; they don’t do change well in broad-
cast television and, well, the results are kind of disturbing. Unless
you really like to write about failure a lot (who, me?).

That said, given the cable explosion, the advent of streaming
and the changes in how people watch stuff, you can put a nice
“we’re still here” spin on broadcast networks. Especially worthy
of our admiration are triumphs like Fox’s Empire and the well-
oiled machine that is CBS.

Another thing to celebrate these days is recent improve-
ment (however late) in diversity on the small screen. Today, a
powerful African-American showrunner like Shonda Rhimes
can influence an entire network (ABC), and excellent shows like
Black-ish and Fresh Off the Boat are considered essential view-
ing for many TV lovers. At Amazon, Transparent explores issues
of gender and sexuality with a new sophistication that surpasses
even the best of independent cinema.

That brings us to perhaps the most significant development
over these past five years: Netflix, Amazon and Hulu getting in
on the business. They weren’t making TV five years ago; these
days, we look to them almost as magicians pulling high-quality
shows out of a hat. While none of them yet has the consis-
tency of either HBO or FX, all have found great shows created
elsewhere and made them available, and all of them have
created original, game-changing series of their own. Netflix’s
Orange Is the New Black has made an even bigger splash than
the site’s poster-series. House of Cards. A deal with Marvel
was a coup, as was letting Aziz Ansari create Master of None (a
move that mirrors what FX did with Louie C.K.). Hulu, mean-
while, has given us one of the best of all recent shows in Jason
Reitman’s Casual.

We’re living in amazing times, indeed. And the change is still
underway. Strap yourselves in.

• THE FIRST HATCHED, HITCHED, HIRED •

A Father Who Loved the
First Baby in THR

Gracie Loscaizo is now 5 and lost her dad, John Loscaizo, in April of this
year. Says his widow: ‘I’m not tortured. F— being miserable’

Five years after his daughter
Grade’s birth was announced
on THR’s inaugural HHH
page, John Loscaizo, CBS
Local director of music
and a 30-plus-year music
industry veteran, died April
7, 2075, of a pulmonary
embolism. He was 52. His wife
of 23 years, Pandora director
of artist and music industry
communications Tracy
Zamot, remembers him here.

I’d been with John since I
was 20 years old. He’d dated
a friend of mine but they’d
broken up, and I saw him at a
show and he asked me for
my number. He said he’d never
forget the dirty look I gave
him as I was writing it down.
We were together for 26
years, but when Gracie was
born, it was like we were
15, we were so giddy. We loved
being parents so much.

He and Gracie used to do radio
shows that he would record,
and she loved it. I still haven’t
been able to turn on the
computer and listen to them.

He was so passionate
about radio. Part of him was
really shy in person, so the
microphone suited him. He

//>/;/// Toira

HITCHED. HATCHED, HIRE I

famously fired Rick Rubin
from WNYU for something
stupid like not showing up.
John was very focused.

He was my biggest fan,
and he was so proud of my
job at Pandora. It’s been
a huge part of my survival.

Gracie and I talk about
him a lot. She remembers
that his favorite color was
purple and that he took her
for cookie dates and hot
cocoa. But she was so little
when he died that I’ll have to
give her the memories.

When we went to the hos-
pital, I grabbed his wallet
and his eyeglasses. When I
finally looked in his wallet
after he died, I found the old
dry-cleaner slip with my
phone number on it from all
those years ago. He still
carried it around with him.

I’m a publicist from
New York, so the first things
I did were get obituaries
together and call a shrink.

A friend recommended
an amazing nonprofit called
A Caring Hand for people
who have suffered sudden
loss. It’s an 11-week pro-
gram, we go for two to three
hours every week, and
Grade’s in a group with kids
her age. They got free tick-
ets to the Big Apple Circus.

I’m doing OK. What’s
my other option? I’m sad and
I miss him every day, but I’m
not tortured. F — being miser-
able! He wouldn’t want me
to be. Gracie pulls the same
faces he did, she smiles like
him, we tell his jokes. She’s a
very happy kid. And we’re
going to the circus tomorrow.

— AS TOLD TO JEM ASWAD

www.thr.com | THE HOLLYWOOD REPORTER | 101

HALLE BERRY & SIDNEY POITIER

Photographed by Peggy Sirota on Dee. 10, 2010

“Poitier comes from an era where he’s just so gra-
cious and willing — ‘Where do you want me, how do
you want me?’ ” says Sirota, who shot this pairing
for THR\ Legends Issue. Berry, meanwhile, “was just
excited to be with him and experience the shoot.
He comes in, they do their thing together, there’s an
electricity between them and then he walks off
set and everybody was like, ‘Wow! That was cool!’ ”

4 - .

Five years, 2,500 shoots. A look
at just a few of THK^ favorite
photographic hits — and the
stories behind each one of them

OPRAH WINFREY

Photographed by Joe Pugliese on Dec. 10, 2012

Pugliese was supposed to get only one hour, and the entire photo shoot for the Rule Breakers Issue was to take
place in Oprah’s guesthouse. But then Oprah big-footed her publicist and took THR on a tour of her Montecito,
Calif., property. “She said, ‘Let’s go down to this bridge, it’s my favorite place, a very reflective place,’ ”
recalls Pugliese. “She’s pretty over-the-top and effusive on her magazine covers, but she did not mind when I
suggested looking off-camera for a shot, having a quiet moment. I have a shot of her closing her eyes.”

104 I THE HOLLYWOOD REPORTER | 11.27.15

KEVIN SPACEY

Photographed by
Miller Mobley
on May 11, 2013

JENNIFER LOPEZ

Photographed by Art Streiber on March 6, 2013 ^ • N

“I pitched this idea of these guys measuring and fitting her,
to show it’s a process,” says Streiber, working on THK^ Power
Stylists Issue. “All the people in the shot”— including Lopez’s
stylists Mariel Haenn and Rob Zangardi, along with a real
seamstress brought in for the shoot — “needed direction,
except Jennifer. She doesn’t need any direction; she knows how
to look great. But I’m really concentrating on the other people
in the photograph who don’t know how to pose and are nervous
because they aren’t used to being photographed.”

THE PRODUCERS

Photographed by Joe Pugliese on Feb. 19, 2014^

“The hardest part was getting them to take the
photo,” says Pugliese of his group shot for Tfflt’s
Oscar Issue of 34 Academy Award-winning or
nominated producers — including Brian Grazer,
Sherry Lansing, Jon Landau and Mel Gibson
— at Robert Evans’ Beverly Hills home. “It was
a picnic on the lawn, a class reunioh. You can’t
just say, ‘Mr. Gibson, please turn thfe other way.’ ”

I. Landau 2. Robbie Brenner 3. Ron Yerxa 4. Jonathan Gordon
5. Nicolas Chartier 6. Donna Gigliotti 7. Richard Suckle

8. Bill Pohlad 9. EmmaTillinger Koskoff 10. Michael Phillips

II. Frank Marshall 12. Irwin Winkler 13. Stanley R. Jaffe
14. Mike MedavoylS. Rachel Winter 16. Arnold Kopelson

17. Jason Reitman 18. Stacey Sher 19. Ivan Reitman 20. Dan Jinks
21. Reginald Hudlin 22. Mark Johnson 23. Gibson 24. Grazer
25. Lansing 26. Albert Berger 27. Alan Ladd Jr. 28. Evans
29. Albert S. Ruddy 30. Fred Roos 31. Walter Mirisch
32. Lawrence Bender 33. Diana Ossana 34. Quincy Jones

- ■

108 I THE HOLLYWOOD REPORTER | 11.27.15

o for a look back at the early days of the HOLLYWOOD REPORTER’S RELAUNCH, GO TO THR.COM OR THR.COM/IPAD.

www.thr.com | THE HOLLYWOOD REPORTER | 109

BRYAN

CRANSTON

Photographed by
Wesley Mann
on May 6, 2012

“The moment we
handed [the hat] to
Cranston, he
instantly entered
into the character
of his Breaking Bad
alter ego” recalls
Mann. “My instinct
was to just give him
room to breathe.”

MELISSA

MCCARTHY

Photographed by
Mary Rozzi
on Sept. 23, 2011

“I wanted to
have fun with her
and have things
comes naturally,”
says Rozzi of the
shoot, which came
a few days after
the Emmys. “I
wanted to capture
her beauty as
well as her sense

of humor.”

CHANNING

TATUM

Photographed by
Brian Bowen Smith
on Sept. 12, 2014

MICK

JAGGER

Photographed by
Joe Pugliese
on Nov. 26, 2013

Says Smith,

“I knew he could
dance, so I
thought it would
be interesting
if we lagged the
shutter and did
some ghosting.”

dagger had
last-minute
concerns about
the shoot, but
Pugliese soothed
his fears. “We
played Aretha
very loud — he got
into it,” he says.

CHRISTINA

HENDRICKS

Photographed by
Joe Pugliese
on June L 2012

m %

I wanted her to be
on the road, driving
on Mulholland, but
we ended up shooting
in this terrible, ’
generic parking lot
with Toyotas next to
the Jaguar,” recalls
Pugliese. “We really
had to crop in, but
Wb let her shine. You
really don’t need
much when you’re
photographing
Christina Hendricks.”

Pc-t

www.thr.com | THE HOLLYWOOD REPORTER | 111

RYAN O’NEAL AND ALI MACGRAW

Photographed by Austin Hargrave on June 18, 2014^

“Ryan and Ali hadn’t seen each other in a long time,”
says Hargrave of the reunion of the stars of 1970’s
Love Story, shot for Favorite Movies issue. “But

it was clear they had a connection and picked up right
where they left off. It felt special. It was a beautiful
evening in Malibu — every photographer’s favorite hour
of the day — and I just wanted to capture the warmth
of their friendship after all these years.”

Tfr Cl

1 * 1

■

f_:

BRAD PITT

Photographed by Frank W. Ockenfels 3 on Jan. 20, 2012

Ockenfels shot Pitt with an old passport camera that allowed him to take four pictures
on one piece of Polaroid. “The awkwardness of the camera takes people off guard, and the
subject becomes less aware and more open,” he explains. “Pitt was very quiet at first.
He had hurt his leg and was moving a bit slow. But he was open to whatever I asked of him.”

114 I THE HOLLYWOOD REPORTER | 11.27.15

LUPITA NYONG’O

Photographed by

Miller Mobley on Sept. 6, 2013

“It was pretty hectic,”
says Mobley, working on a
12 Years a Slave cover shoot.
“We were confined to a
small room. I set off the fire
alarm by using one of my
smoke machines — not a good
moment when security comes
running to a photo shoot
to say the fire trucks are on
the way. But I played the
celebrity card and told them
what the shoot was.”

THE PARAMOUNT LEGENDS

Photographed by Joe Pugliese on Dee. 7, 2010

“It was just a handful of issues into the weekly, and
it was all unproven ground,” says Pugliese of his group
shot of (from left) Frank Mancuso, Robert Evans,
Brad Grey, Sumner Redstone and Jonathan Dolgen.
“But that’s what THR has done best: getting this
archive of great people hanging out together for a
special moment. With moguls like th^e, they’ve had
very long careers, and they won’t be with us forever.”

HoUtfwood Off-Dutu»
Then and Now

Five years ago, you ate Atkins, took guilt-free showers and

thought Tesla was a measurement in physics. Today, real estate boils over,

El Nino looms and vegans duke it out with paleo-adherents,
as THR revisits the rapid acceleration and eradication of L.A. trends

What a difference five years
makes. Silicon Beach has grown
as fast as Broad Beach has
eroded, Teslas are the conscien-
tious car of choice over Priuses,
and “frozen actress face” (a
by-product of too much Botox)
has given way to “resting bitch
face” (not smiling on Instagram).
Selfies have replaced autographs,
the gay wedding industry is
fiourishing and foreign money
has fiooded the town, creat-
ing a Riyadh on Rodeo Drive and
feeding a spec development spree.
An arms race has been under-
way among such mega developers
as Nile Miami, who is building
what The Agency’s Blair Chang
describes as “the craziest, most
over-the-top $500 million house
L.A. has ever seen.” Tourism
is booming, with 6 million visitors
to Beverly Hills in 2014, a
24 percent uptick over 2007. “The
Internet, Hollywood and fash-
ion have propelled L.A. to another
place,” says Rodeo Drive real
estate agent Jay Luchs. “People
from all around the globe are
moving here. And the weather
everywhere else has gotten
so bad, while shopping here just
keeps getting better and better.”

j,| WHAT THE TOWN LOVED TO EAT: 2010-201S

w Tuna tartare in the ’80s, chocolate lava cake in the ’90s, quinoa bowls in the aughts:

Hollywood’s story, or at least its appetite, can be revealed by the rise and fall of its local

( food fixations. And the frenetic fads of the past half-decade — which swing wildly from the
healthy (the juicing craze, kale mania) to the hedonistic (the return of foie gras, an explosion
of biscuits) — are, perhaps all too fittingly, almost impossible to digest. — gary baum

Popularity
of food trend*

Food

Trucks

Cupcakes

Kale

Foie

Gras

Juicing

Stuff on
Toast

Biscuits

2013

2014

*Popularity of food trends determined by analysis of THR food coverage from 2010 to 2015.

What’s
gone away
since 2010
(only some
of which will
he missed)

Aid ikoff Screening Room Ammo Atkins diet

118 I THE HOLLYWOOD REPORTER | 11.27.15

O lS

Z 7!

ILLUSTRATIONS BY Melinda Josie

IF ONLY I’D BOUGHT THAT HOUSE FIVE YEARS AGO! The rise ... and rise of L.A. real estate as shown by high sales

Downtown L.A.

$575K 2010
$2.5M 2016

Santa Monica

$7.7M 2010

$23M 2015

Beverly Hills

$23. 5M 2010

$47.85M 2015

Playa Vista

$1.25M 2010

$2.44M 2015

Pacific Palisades

$10.75M 2010

$22M 2015

Los Feliz

$4.9M 2010

SUM 2015

THE “CROWN” OF BIRD STREETS

THR first reported on
the Birds’ buzz in
the Oct. 21, 2011, issue.

2. The other two parcels are believed to belong
to Walmart heiress Sybil Robson Orr and her
entrepreneur husband, Matt Orr, who purchased
one from Dasha Zhukova after the Russian
heiress/wife of Roman Abramovich lost interest
in the property once she learned it wasn’t
possible to own all three of the Crown jewels.

1. Boasting
panoramic city, ocean
and canyon views,
the Crown contains
three parcels. One
is the 1.2-acre former
Ricardo Montalban
estate, now an
18,000-square-foot
contemporary.

A former owner
reportedly planned to
dig out 80,000 square
feet of underground
space for an
elaborate “basement.”

3. The Robson Orrs next
acquired the remaining parcel from
motivational speaker Grant
Cardone; it had belonged to Lionel
Richie. All told, the couple is said
to have shelled out $36.5 million for
the conjoined 1.75 acres and
reportedly now plan to construct a
massive compound there.

BEVERLY HILLS’ BIRD STREETS: ‘A CLUSTERF-!’

What’s happened to the celebrity enclave since THR last checked in 2011 by pauline o’connor

Five years ago, the housing market in the hilly enclave above the Sunset Strip was on the ascent.
Among the notable sales was a four-bedroom contemporary on famed Blue Jay Way that bil-
lionaire philanthropist Ted Waitt acquired from producer Megan Ellison in 2011 for $11.5 million.
Since then, values have soared ever higher: This September, Waitt put the property back on the
market with an asking price of $20 million. Another development: “Shovel-ready” has become an
increasingly common term in Bird Streets real estate listings. Recent teardown targets include the
10,000-square-foot Oriole Way mansion that equity fund founder Alex Soltani acquired in January
for $32 million from Dr. Dre (who’d purchased it for $15.4 million in 2011) and the four-bedroom
traditional on Warbler Place that comic book mogul Stan Lee now is offering for a $3.8 million ask-
ing price. In 2012, a sculptural villa designed by Mexican architect Ricardo Legoretta for Ricardo
Montalban was razed to make way for an 18,000-square-foot spec designed by gigamansion
specialist Paul McClean — which broke neighborhood sales records at $39 million. Will the Bird
Streets’ popularity bring about its downfall? Though longtime stalwarts Leonardo DiCaprio and
Keanu Reeves remain, other A-listers such as Jodie Foster, Tobey Maguire and Christina
Aguilera have flown the coop. Former resident Nick Offerman has said: “We could never get sick
of this place, but the neighborhood has turned into a clusterf— .”

5 Design Trends
Now (Turn Over
the Hourglass!)

Blink and you’ll miss the new looks pervading
L.A. at home and work as the city becomes an
aesthetic capital by mark morrison

◄ PERFORATED
BUILDINGS

In the wake of Frank
Gehry’s rippling steel
Walt Disney Concert Hall,
architects are skinning
buildings to allow in sun-
light and air. See: The
Broad museum; the new
parking structure of
the Wallis Annenberg
Center for the Performing
Arts in Beverly Hills.

► INDOOR-OUTDOOR
LIVING TO THE MAX

“Bringing the pool
indoors, and indoor fur-
niture outdoors gives
continuity,” says designer
Bradley Bayou. Oliver
Furth (client: UTA’s Jim
Berkus) has installed
chandeliers, TVs, antique
fireplaces, sofas and
heated floors in his out-
door spaces.

^ POSH PET AMENITIES

Decorator Kishani Perera

says, “People are add-
ing luxe built-in food bowl
areas” and ceramic-tiled
doggie showers to laundry
rooms. Perera added
one to the $5.25M house
bought by Christopher
Meioni: “I’ve also done
raised ones so you don’t
break your back wash-
ing your dog.”

► SILICON CAMPUSES

“Clients are asking to
design workplaces that feel
like home,” says architect
Steve Ehrlich. His Eleven
at Campus El Segundo is
a Silicon Beach compound
of 15 buildings with fire
pits and bocce ball. Opened
in July, it houses digital
studios and the L.A. Lakers’
new training facility.

Price per square foot Number of properties ■ Rise in spec ■ Building McMansions
is up 30 percent on the market H development H — underground!

In 2011, the most desirable
properties in the neighbor-
hood were commanding
more than $2,000 per square
foot. Now, $3,000 per square
foot is not unheard of.

In 2011, there were 15 houses
on the market ranging in
price from $1.25 million to $18
million. Currently, there are
22 properties for sale, ranging
in price from $1,975 million
to $33 million. Seven of the
listings today are described
as either “shovel-ready” or a
“development opportunity.”

The profit potential has lured
spec developers to the
chagrin of longtime residents.
“Construction is out of con-
trol,” says showrunner Jenny
Bicks, one of the co-founders
of the nabe’s Doheny
Dining Club with her husband,
producer Adam Peck.
“People are building $30 mil-
lion hillside monsters.”

Some developers have been
ignoring 2011 anti-mansion-
ization laws and digging into
hillsides to make multiple
subterranean levels, referred
to euphemistically as “base-
ments.” Since a 2014 limit on
excavations, they’ve been
using plumbers’ vans instead
of trucks to secretly trans-
port dirt out.

^ PIMPED-OUT BARS

Home bars have gone
way more upmarket, with
exotic-stone coun-
ters, handblown mirrored
walls and wine on tap.

SEA Design’s Kara Smith
made Denise Richards’
Hidden Hills living room
into a lounge with acustom
crystal bar, backlit
onyx fireplace and tufted
leather banquette.

www.thr.com I THE HOLLYWOOD REPORTER | 119

WhyL,,

Holljrwood’s
power players revisit
their transportation
and tech decisions
since 2010

... INVESTED IN

TIBER BY TROY CARTER

Six months ago I ordered an
UberX from Palo Alto and an
elderly woman picked me up.
During our ride she explained
that Uber has given her the
freedom to supplement her
fixed retirement income, some-
thing that wasn’t an option for
her before. That ride crystallized
for me how transformative
Uber has been since it launched
in 2010 in San Francisco. I don’t
think anyone could have pre-
dicted that Uber would now be
worth close to $100 billion,
but I believe it could become
one of the most important
companies in the world. As an
investor, I initially had ques-
tions about Uber’s long-term
potential given the pushback
the company was getting from
the San Francisco taxi indus-
try, but CEO Travis Kalanick
explained that someday Uber
wouldn’t just move people, it
would become a global logistics
platform with the ability to
move things. The sky’s the limit
for how far this company will
go, and if Elon Musk gets us to
Mars, Travis will have Uber there
upon our arrival.

Atom Factory CEO Carter
manages John Legend and
other artists.

... DRIVE A

TESLA BY JON FAVREAU

I signed up for my Tesla Model S
— the one I still drive — around
the time we were filming the Iron
Man movies. Elon Musk has been a friend of the Iron
Man family from the beginning. He was somebody that
Robert Downey Jr. and I talked with to help research
the original film. He even had a cameo in Iron Man 2, and
he let us film at SpaceX — the Hammer Industry scenes
were shot there. This was all before the Tesla Model S
was on the road or the rocket program was fully online.
Elon is a fascinating guy. We met at a time when we were
still figuring out how we fit into our respective indus-
tries. When he told me about the Model S, I thought it
was very ambitious. At the time, people in Hollywood
were trying to embrace alternative-fuel cars. The Prius
was ubiquitous, but because of its size and design,
it didn’t fit the needs of everybody. The Model S fulfills
the desire for a luxury vehicle that a lot of people in
Hollywood want; it became people’s primary mode of
transportation. I placed an order for my Model S after I
was taken for a test drive at the unveiling of the proto-
type. It was impressive even then. Elon makes cars
that are fast but are also very safe and extremely well
designed. I wasn’t in the market for an electric car when
I got my Tesla. I’m so glad that I made the leap.

Favreau is director of Disney’s The Jungle Book and
executive producer of MTV’s The Shannara Chronicles.

... RIDE THE L.A. METRO
(TO JUDD APATOW^S

DISBELIEF) BY BRENT WHITE

I’m excited about the new Expo line that will go to Santa
Monica because it goes by Sony and Judd Apatow’s
offices, the “Apatower” on Pico Boulevard. The next time
I work for Judd, I may abandon the car and take the
Metro. He and Adam McKay are surprised that I use the
Metro. I’ll say, “I went and saw a show at the Ace Hotel
and took the Metro.” And
they’ll say, “You took the what?”

My wife and I take it to go to
the Chinese Theatre, the Egyptian
or ArcLight. Parking is expen-
sive, and it gets us walking more.

There’s a certain colorful element
you rub up against on the sub-
way — people going to Staples
Center for a show or game, or the L.A. Coliseum during
these new music festivals. I’ve even taken the Metro
home from LAX! It’s tricky. There’s a bus and you have to
change lines twice. There’s a famous subway sequence
in the original Ghostbusters, and there’s a great subway
sequence in the new Ghostbusters, too. They built it
on a soundstage so we could have total control — but it
looks and feeisjust like a real subway.

White has been an editor for Apatow since Freaks
and Geeks and is currently editing Ghostbusters,
directed by Paul Feig.

■Bi

THE RODEO

DRIVE

SHUFFLE

by Merle Ginsberg

F rom seven vacancies in 2010 to none in
2015, with rents doubling from $450 per
square foot to $900, there’s no question
that Rodeo Drive is rocking. What happened in
five years.? “European brands decided that
making L.A. their second or third location in
the U.S. [after NYC and Las Vegas] was an
absolute necessity,” says Jay Luchs, whose
NGKF firm brokers high-figure deals for luxury
brands jostling for space on Rodeo. Lanvin
arrived in 2010, followed by Celine, D squared
and a Saint Laurent men’s store. Hermes,

[ aoio ]

ILORI X

BOTTEGA
VENETA
Creative
director Tomas
Maier will
oversee design
of the

new flagship.

DEBEERS X

VALENTINO
Moved south
in 2012 for

more space.

ERMENEGILDO
ZEGNA
The new store
debuted
creative director
Stefano Pilati’s
first collection in
November 2013.

BULGARI
Moved in 2012
when LVMH took
a majority stake
in the company.

KEY

store closed
store expanded
“¥ store addition

DAYTON

JUDITH

LEIBERX

GEORG
JENSEN X

JUICY
COUTURE X

LLADRO X

Dial-up Internet “Frozen actress face” Green grass House of Blues Junior’s Kate Mantilini

120 I THE HOLLYWOOD REPORTER | 11.27.15

MAP ILLUSTRATION BY Remle Geoffrol

Chanel and Louis Vuitton purchased their
buildings as permanent homes for $75 mil-
lion, $120 million and $85 million, respectively.
“Rodeo is now the most famous of the
world s luxury streets,” adds Luchs. “To be a
big player, you have to have a Rodeo store.”
Changes are afoot in the foot traffic, too, as
wealthy Chinese, European, Middle Eastern
and Russian tourists have given way to — sur-
prise! — Americans, says Julie Wagner,
CEO of Beverly Hills Visitors Bureau. “Russia
isn’t in our top 10 anymore. China is strong,
but we’ve seen a decline.” With global travel
down 12 percent, and domestic up 7 percent
this year, “New York is our biggest market, then
San Francisco,” says Wagner. “Local is the
biggest comeback, then Chinese and Saudis.”
That shopper scooping up $7,500 Chanel
bags.? They just might be from Orange County
— or six blocks away.

SAINT
LAURENT
MEN’S •f

BURBERRY+

RALPH LAUREN A
The brand is
planning a major
renovation and
expansion in 2016.

CHANEL A
The French
label is beginning
an expansion
into the Lladro
building
next door.

TORY
BURCH -f

TON WAY

DAYTON WAY

r\ C

CAROLINA

HERRERA -f

SAINT

LAURENT

LOUIS VUITTON A
The Juggernaut
doubled its footprint
to 7,100 square feet
in 2012.

JIMMY
CHOO +

How Faces Look
Better Now Than Then

In half a decade, a sea change in plastic surgery (from ‘pull, peel and
puff’ to ‘refresh, restore and rejuvenate’) has doctors taking up to eight
hours for subtler, more multifaceted face-lifts; using, not discarding, a
patient’s own fat for plumping wrinkles; and overall ‘putting things back
the way they were,’ says Beverly Hills surgeon Lawrence Koplin

ILLUSTRATION BY HELEN GREEN

BROW-LIFT

Back in 2010, brow-lift procedures
“pulled up the forehead, leaving
the brows too high on the face and the
eyes higher than they should be,” says
Koplin. “It was a dead giveaway for aging.”

BROW-LIFT

Surgeons no longer perform this surgery
— a little Botox suffices — and
to avoid a frozen face (or “frozen actress
face,” as referred to below),
they won’t even Botox every line.

UPPER PART
OF EYELID

Today, the lids are
left alone or
much less tissue is
removed. “Even
teenagers have
some hooding and
puffiness here!”
says Koplin. “Doing
too much makes
you look older.”

LOWER EYES

Lower eyelid
surgery was more
prevalent, with
fat taken out of
puffy pockets —
making the under
eyes appear
hollow and gaunt.

NOSE

In 2010, noses
“were overdone, as
surgeons took out
too much cartilage,
and many were
too small and out of
proportion with the
face size,” says Koplin.

UPPER PART
OF EYELID

As one ages,
eyelids droop and
create crepiness.
In 2010, “there was
too much fat
being taken out
from the crease,”
says Koplin,
making one look
scared and hollow.

“There used to be
too much filler
or implants,” says
Koplin. Surgeons
thought that
would lift the face.

“Instead, it
was very Janice
Dickinson,
with cheekbones
sticking out.”

LOWER EYES

“Surgeons can
take under-eye
puffiness and
move it down to
the hollow
area above cheeks,
called an arcus
release,” says
Koplin. Result: You
look like you’ve
slept for five years.

CHEEKS

Somewhat less
angular and full; now
doctors know to
apply less filler here,
and how to apply
it more strategically,
says Koplin.

NOSE

“Doctors can Just
finesse the tip, take
width out a little,”
explains Koplin.
Sources say Dr. Raj
Kanodia did Just
that on the famous
noses of Jennifer
Aniston and
Cameron Diaz.

LIPS

Trout pout may have peaked in
2010, but “doctors were still
overfilling the upper lip rim, as
that area receded with
aging,” says Koplin. The effect
was a stiff and too-full upper lip.

LIPS

These days, lips are “much
more natural,” says Koplin.
‘Doctors will only inject to make
them symmetrical and to
be in proportion with the eyes
and nose.” — m.g.

Lincoln Town Cars to LAX McMansions (per ordinance) Northwest Airlines Thomas Guide Trout pout (KylieJenner aside) Wheat gluten

INTERNET: STEVE OUTRAM/OCEAN/CORBIS. FOX: JOE SCARNICI/GETTY IMAGES FOR BLACKBERRY. GRASS: GAVIN HELLIER/ROBERTHARDING/CORBIS. BLUES: ARAYA DIAZ/GETTY IMAGES. MANTILINI: COURTESY OF SUBJECT. LINCOLN: CHRIS HONDROS/
GETTY IMAGES. MANSION: CARLOS CHAVEZ/LOS ANGELES TIMES VIA GETTY IMAGES. AIRLINES: DAVID MCNEW/GETTY IMAGES. GUIDE: PR NEWSWIRE/NEWSCOM. STODDEN: BECK STARR/WIREIMAGE. GLUTEN: AP PHOTO/CHARLIE RIEDEL.

STEPHEN GALLOWAy

PHOTOGRAPHED BY

MILLER MOBLEY

For THR’s supersized
discussion, these
eight top stars
of awards season —
regardless of age
or acquaintance
— found themselves
in a frank, funny
conversation about
everything from
sex scenes, to the
pay gap and the
price of speaking out.
Says Jennifer Lawrence:
There’s always
a backlash’

“If a woman is determined,
she will get what she
wants because we are very
determined creatures,”
says Rampling (far left).

She was photographed
with (from left) Mulligan,
Lawrence, Fonda, Larson,
Winslet, Blanchettand
Mirren on Nov. 14 at Line
204 Studios in Los Angeles.

styling by

CAROL MCCOLGIN

On Rampling: Givenchy coat
dress. On Mulligan: Valentino
blouse, Roksanda pants,
Kurt Geiger shoes, Jennifer
Meyer necklace and earrings.
On Lawrence: Cushnie
et Ochs jumpsuit, Dior coat,
Jimmy Choo shoes, Jennifer
Meyer necklace, earrings and
stacked rings. On Fonda:
Lanvin top, Stella McCartney
pants, Jimmy Choo shoes, David
Webb earrings and cocktail ring.

On Larson: Altuzarra blouse.
Jacket and trousers, Kurt Geiger
shoes. On Winslet: Roland
Mouret dress, Gianvito Rossi
shoes. On Blanchett: Mugler
Jumpsuit. On Mirren: Narciso
Rodriguez dress, Pedro Garcia
shoes, Irene Neuwirth ring.

www.thr.com I THE HOLLYWOOD REPORTER | 123

WHEN EIGHT OF THE
world s most accomplished
performers gathered
in one place on Nov. 14 for
THR'^ annual Actress
Roundtable, you might
have expected some
backstage drama. Sure,
there was a slight kerfuffle
over whether their
stylists should be allowed
on-set, and then there
was a major case of hunger
pangs when new mom
Carey Mulligan, 30, and
newly-in-from- China
Jennifer Lawrence, 25,
both had to wolf down
bananas before the shoot.
But other than that, it
was a lovefest as the
two actresses joined
Cate Blanchett {Carol,
Truth), 46; Jane Fonda
{Youth), 77\ Brie Larson
{Room), 26; Helen Mirren
{Trumbo, Woman in Gold),
70; Charlotte Rampling
(45 Years), 69; and Kate
Winslet {Steve Jobs), 40,
in a discussion that ranged
from the pay gap between
men and women to
the other careers these
actresses might have
chosen to — yes — how to
pee on film.

I’ll start with a simple
question. Why do you act?
LARSON That’s not a sim-
ple question. {Laughter.)
LAWRENCE Because I
have to.

RAMPLING It’s all I can
do, I think.

MIRREN I became an
actress because I discov-
ered the world of the
imagination when I was
about 14 or so and the
concept that you could
engage in this amazing
world of storytelling. I
saw a production of
Hamlet, and I didn’t know
Hamlet died in the end.
BLANCHETT He does.? Shit.
LAWRENCE Who’s Hamlet.?
BLANCHETT It’s a bit like
asking why you love some-
body. But for me, it’s a
vocation, and in the end,

I feel like I didn’t choose

it. It chose me. All those
out-of-work actors will
probably tell me to shut up
— and I’ll have to com-
mit ritual suicide — but
I’m always trying to not
do it, to be honest. And
then you get a call from
Martin Scorsese or Todd
Haynes, and you get drawn
back into it.

WINSLET It can be lonely,
actually, especially when
you’re younger. I remem-
ber those moments of
going, “Wow, I’m doing
this by myself.” And
what’s interesting is: Who
do you act for.? I remem-
ber being asked that in a
room with lots of really
scary people, like Kenneth

Branagh and Derek
Jacobi. And every-
one said a parent. Every
single person.
BLANCHETTAsaway
of seeking approval.? It’s
that whole thing, isn’t
it, that actors want to be
liked.? And that doesn’t
interest me at all. What I
love about the theater is
that you know who you’re
acting for: your audi-
ence. And the thing I find
really hard in film is,
you don’t. The audience is
invisible. And we’re sit-
ting there, hoping there’s
other people out there.

Jennifer, who do you act for?
LAWRENCE My agent.

“I wasn’t a perfect package
of one thing,” says Larson.
“I wasn’t pretty enough to
play the popular girl, I wasn’t
mousy enough to be the
mousy girl, so I never fit in.”

{Laughter.) If I hadn’t
found [acting], I would
have never been able
to make sense of all of
these bizarre things
we all had when we were
kids. Why, if I think
something, do I feel it.?
Before you’re acting,
that just makes you feel
crazy.

BLANCHETT All those
voices.

LAWRENCE [Once] I con-
vinced my entire bus
that we were being held
up for ransom because
I was reading about it and
I was like, “This is real.”

I have an outlet, and now
I understand what it is,
otherwise I would have felt

mentally insane. I really
act for myself I really love
it. I don’t think there’s a
way that you could handle
these schedules, all of
the actual work that goes
into it, if you don’t really,
really love it.

FONDA I never wanted to
be an actor. My dad was
an actor, and he never
brought joy home, so I
didn’t view it as some-
thing that I would want
to do. But I got fired
as a secretary, and then
I started studying, and
Lee Strasberg said I was
talented, so I started
doing it just to earn money.
And it took me a long
time to learn to love it. And
what I loved was telling
a story. I tried to avoid
making plays or films that
weren’t telling a story
that I felt was important.
And what I discovered
in the process is, it makes
you more empathic
because you have to enter
someone else’s reality and
you learn to see through
many other people’s eyes.
LAWRENCE That is what
acting is.

FONDA What’s totally
terrifying is that, unlike
a musician who has a
musical instrument, or a
painter that’s got a
canvas and a brush, this
is us. Our energy, our
soul, our spirits. And it’s so
hard because it’s so vul-
nerable. You’re exposing
everything.

Jane, if Strasberg hadn’t
liked you, what would you
have done?

FONDA I probably would
have become a landscape
architect.

LARSON Oh, I quit many
times. It was too hard.

So I went back to college
a couple of times to be
a photographer, and then
an interior designer, and
then, at the real depths of
it, I wanted to be an ani-
mal trainer. That was like
a real low point —

124 I THE HOLLYWOOD REPORTER | 11.27.15

p
Z cc.
2 o

Q TO HEAR WHAT THE ACTRESSES HAVE LEARNED FROM THEIR DIRECTORS, GO TO THR.COM.

BLANCH ETT — for all you
animal trainers out there.
LARSON I had started
acting when I was 7, and
I was always wrong. I
would always get to the
very end [of the audi-
tion process], but I wasn’t
a perfect package of one
thing. I wasn’t a cliche, and
it always worked against
me. I wasn’t pretty enough
to play the popular girl,

I wasn’t mousy enough to
be the mousy girl, so I
never fit in. And so I’d get
close, but I never got
an}rwhere, and it was really
painful. And then there
was a TV show that Toni
Collette was starring in,
and Toni Collette was my
absolute hero. And when
this role came, to play a
girl who was struggling
with identity and who was
a little bit of everything,

I thought: “Oh, this is what
I was supposed to do.
Everything’s leading up
to this moment.” I was
18. 1 was like, “This is it.”
And I tested for it, and
I didn’t get it. And I was
devastated.

MULLIGAN I remember
when I did The Seagull,
there’s a line Nina
says: “I’m a proper actress
now, and when I think
about my vocation. I’m
not afraid of life.” It’s
a way of dealing with life.

Are you ever afraid of
acting?

MULLIGAN All the time.
(Laughter.)

FONDA Totally!

MIRREN of course, abso-
lutely. It never stops.
Younger actors say, “As
you get older, as
you’ve done it more,
does the fear go.?”

Noooo. Sorry. It gets
worse, actually.

LAWRENCE I’m always
terrified before every
movie because I haven’t
found her [the charac-
ter] , and I don’t get
it. [Without acting. I’d
have] become a nurse.

LARSON I think you’d be a
great nurse.

LAWRENCE Well, thank
you.

LARSON I don’t know if
I’d let you put me under,
but —

LAWRENCE No, no. I’m

not good with math.

You don’t want me to deal
with your Propofol.
WINSLET My dad was an
actor, and my older
sister is an actress, and so
I very much remember
thinking, “Well, of course
I’ll do that as well.” But
I never imagined myself
as an actor who would
be in films. I always only
thought of myself being
in a play or a musical and
maybe the odd episode
of [U.K. ’80s TV drama]
Casualty. My backup
plan was to do something
with children, to start
a nursery school or work
with underprivileged
kids. And I still dream of
maybe doing that in some
way. I’ve always got chil-
dren in my house, always.

Cate, you have four
children. Does that make
acting less important?
blanchettNo. It just
makes you really economi-
cal. All of the stuff that I
frankly loved and enjoyed,
all of the researching
— you just don’t have time
to do it. But it’s also
made me more fearless
because a lot of the
research one does is really
just a process to stave
off the anxiety of doing it.
It’s, “Well, I’m just going
to do this shit and it’s
either going to be really
embarrassing or it’s
going in the right direc-
tion.” You’ve got no
time to be frightened.

Is it hard to find good roles?
MIRREN Yes, of course.
FONDA If you’re older.
RAMPLING Ah, the eternal
question.

FONDA A woman who’s
older.? It’s very difficult.

Older means over what age?
LAWRENCE In Hollywood
or in real life.? (Laughter.)
FONDA I’m told over 40,
although what I did when
I was in my 40s was I
simply produced my own
movies because no one
offered me anything. But
certainly after 50 it’s
hard for a woman, which
is why television is
such a welcoming thing.
MIRREN It’s hard for
young women, too. It’s
very interesting. Brie
saying, “I wasn’t pretty
enough to be the pretty
girl and I wasn’t unattract-
ive enough to be the
dorky girl.”

LARSON That’s what we’re
all doing: paving the
way, finding the roles that
have the complication
instead of the one that’s
always got it together
or the dedicated house-
wife or the wild one
who smokes cigarettes and
sleeps with anybody.
WINSLET So much is made
of good, strong roles for
women. Actually, it’s really
interesting playing vul-
nerable people as well.
MULLIGAN People always
say, “You played such
a strong character.” I
remember someone
said that to me when I
played a role in Shame,

and she was a suicidal
mess. I said, “She’s not
strong at all; she’s incred-
ibly weak.” But “strong”
to people means “real.” It
means you believe that’s
a person who exists, as
opposed to some two-
dimensional depiction
of women.

Jennifer, you’ve written
about the pay gap between
men and women, and you’re
taking a stance on issues.
Has there been a backlash?
LAWRENCE There’s always
a backlash in every-
thing that you do, but it’s
not going to stop or
change anything. And

it’s not only an issue in
Hollywood. When you’re
asking about roles for
men and women, men cer-
tainly have a longer shelf
life. Men can play the sexy
lead for 20 years longer
than we can —

LARSON But that’s just
because it’s mostly dudes
in charge.

BLANCHETT It’s lazy think-
ing across all industries.
We’re at the pointy and
probably the most public
end, but in what industry
do women receive equal
pay for equal work.? I can’t
think of any.

LAWRENCE Across all
fields, women are gener-
ally paid 21 percent less
than men.

MIRREN I love the way you
wrote about it because
you wrote about it very
simply and personally.

I so recognized that thing
you said about, “I didn’t
want to be an asshole,”
you know.? I want to be
polite. We’ve got to stop
being polite. If I ever had
children, which I don’t,
the first thing I’d teach a
girl of mine is the words
“f-off.”

FONDA Have you [all]
gotten braver.? When
Kate was in [Holy Smoke\,
it’s nighttime, and she
walks out of this build-
ing stark naked and
urinates on herself, you
know.?

WINSLET One of my finer
moments. (Laughter.)
LAWRENCE Was it real pee.?
WINSLET No, it wasn’t
real. ’Cause you can’t piss
on cue. We did actually
do a pee test because I did
want to do the pissing
part if I could. But when
you stand up and pee, it
doesn’t go in a nice stream
right down the center,
which is what they wanted.
It just races for sanctuary
down one side of your
leg. That didn’t work when
we did the pee test, and
I really did pee down my
leg. So what we did is.

Notes Mulligan:
“There’s always the
things that you
think are going to be
tough. I’ve been nude
once, and I was like,
‘Oh, that’s going to be
a nightmare,’ and
actually that was fine.
It’s kind of, ‘F — it,
now I’m naked and
everyone else isn’t.
This is hilarious.’ ”

we hung a bag of saline-
drip fluid and dyed it
slightly yellow. It was tied
to the back of my hair
on a small thread, and it
just sat happily in the
base of my back. And some-
one activated it.

LARSON Did you wedge
it or did someone else
wedge it.^

WINSLET I wedged it.
BLANCHETTWho did

that.? Was that credited.?
(Laughter.)

Is there anything you
wouldn’t do as an actress?
WINSLET I wouldn’t be a
part of anything that had
acts of violence toward
children. I don’t think I
would do a horror film,
either. That just doesn’t
sit well on my soul.

BLANCH ETT Oh, I love
horror Aims.

WINSLET Do you And
them funny.?
BLANCHETTNo, Iflnd
them scary.

LAWRENCE I get nervous.
BLANCHETT There’s
[also] plenty of girl-
friend roles out there.
They’ve come my
way, and many people
have turned them
down, and I think, “Oh
maybe I could do
something with this.”

It’s interesting when
you get those roles,
which seem like nothing
on the page, and you
kind of subvert them.

It’s hard to say no.

Have you said no to
doing something onscreen?

LAWRENCE I don’t think
so. I mean. I’ve skinned
a squirrel.

Not a real squirrel?
LAWRENCE Of course it
was a real squirrel. I didn’t
kill it. But no, not yet. I
had my first real sex scene
a couple weeks ago
[while ^ootiiig Passengers
with Chris Pratt], and
it was really bizarre. It was
really weird.

BLANCHETT When you say
“real” sex scene, do
you mean penetration
or ....? (Laughter.)
LAWRENCE No, no.

Thank you for clarify-
ing. It was weird.

And everything was done
right; nobody did any-
thing wrong. It’s just a
bizarre experience.

How do you prepare for that?
LAWRENCE You drink.

I got really, really drunk.
But then that led to
more anxiety when I got
home because I was
like, “What have I done.? I
don’t know.” And he was
married. And it was going
to be my first time kiss-
ing a married man, and
guilt is the worst feeling
in your stomach. And I
knew it was my job, but
I couldn’t tell my stomach
that. So I called my mom,
and I was like, “Will you
just tell me it’s OK.?” It
was just very vulnerable.
And you don’t know
what’s too much. You want
to do it real, you want
everything to be real, but
then ... That was the most
vulnerable I’ve ever been.

MULLIGAN There’s always
the things that you think
are going to be tough. I’ve
been nude once, and I
was like, “Oh, that’s going
to be a nightmare,” and
actually that was fine. It’s
kind of, “F— it, now I’m
naked and everyone else
isn’t. This is hilarious.”
But [the toughest part
of acting] is never a single
thing. It’s more like a
whole character. I And Aim
really difflcult — trying
to make it feel like a con-
sistent character when
you’re Aiming everything
out of order.

You had one scene with
Meryl Streep in Suffragette.
What did you talk about
off-camera?

MULLIGAN They didn’t

128 I THE HOLLYWOOD REPORTER | 11.27.15

have any shoes in her
size. So she brought her
Out of Africa shoes,
so we were drilling her
[about that] .

I Brie, with Room, did you
d I speak to women who’d been
1 1 1 held captive in real life?

I g I LARSON I’m a big
S H ^ believer in privacy, and

I i I I didn’t feel it was my
III place to invade their space

I I “ and ask them about

III that. Because ultimately
g 1 1 the story is universal,

^ g I and I didn’t want to get
III into some sort of inva-
1 sive crime tale. But I had
p ^ been given some videos
pi of the very rare times these

III girls had done public
I II interviews, and they just
III broke my heart and made
^ 1 1 me so angry.

Is it different when you play
a real-life character?
MIRREN Yes, of course,
because you have a
responsibility to look like
them and sound like
them and maybe walk like
them. But the essen-
tial journey is exactly the
same, really, as with a
fictional character, which
is a journey of imagina-
tion. And the great thing
about playing a real-
life character is you don’t
have to make up all that
backstory stuff. And truth
is always so much more
interesting than fiction,
isn’t it.?

Speaking of truth, Cate,
some people have questioned
the truth of Truth, the Dan
Rather story.

BLANCHETT There’s many
versions, depending
on whom you speak to.
Someone’s viewpoint
has to take you through
the story. A film is not a
documentary. And what’s
wonderful about film is
that it’s a real provocation
for people. I never, ever
see film as being an abso-
lute version of the truth.

In creating the truth, do
you borrow from other
actresses’ performances?
LAWRENCE I take from
people all the time. I didn’t
ever go to acting classes
or anything. You can just
watch people.

MIRREN Onscreen, babies
and animals are my inspi-
ration. They’re so alive
and there and not messed

up in the head the way I
am, you know. (Laughter.)

Are you?

MIRREN Yes, all the
time on the set, oh god,
absolutely.

BLANCHETT All you need is
one moment of flow, and
then you’re back. You’re
constantly reaching for
that moment. One of my
favorite moments is
onstage, when you see a
dancer leap, and you
think they’re flying, and
then they fall. It’s that
moment of suspension
that you look for, and
sometimes you get it and
sometimes you don’t.
WINSLET I’m always
inspired by actresses who
are older than me. Because
I know that person has

lived so much more life
than I have. There’s
a whole other toolbox.
RAMPLING You become
more and more charged
with your life and with
a life that you’re observing.
When I was younger, I
was actually looking for-
ward to getting older,
to have more insight, more
understanding. I’m much
more tolerant with others
and with myself I’m not
in rebellion all the time.
I’m not angry so much.
But all those feelings are
really useful [when
you’re young] because they
fire us, as long as they
don’t get out of control.

Jane, you had very strong
feelings as a young woman.

CONTINUED ON PAGE 150

www.thr.com | THE HOLLYWOOD REPORTER | 129

MAKING OF

Bridge of Spies •

‘It’s as close to my life as you can get,’ says Steven Spielberg of a bathtub scene

straight from his youth in the Cold War real-life spy thriller, as the director describes
drawing on everything from his childhood fears to his father’s own Russian slides
BY ANDY LEWIS _

IKE MANY KIDS GROWING
up during the Cold War, Steven
Spielberg thought a lot about
the end of the world. In fact,
one day in the early 1960s
— right around the time the Cuban Missile
Crisis was pushing the planet to the brink
of nuclear holocaust — Spielberg’s father
came home and discovered that his 15-
year-old son had drawn hypothetical blast
radiuses on a map (to see if their house
would be destroyed) and filled the bathtub
with water (because he’d learned from
the civil defense films at school that fresh
drinking water would be scarce after an
atomic attack). “It was in your face,” the
now 68-year-old director tells THR of
the apocalyptic fear that gripped America
during the dark days of Mutual Assured
Destruction. “It was on TV. It was in the
newspaper, and the conversation that was
on everyone’s lips was about doomsday.”
Six decades later, the world has some-
how survived, but Spielberg still is filling
bathtubs. There’s a scene early in Bridge

130 I THE HOLLYWOOD REPORTER | 11.27.15

of Spies — Spielberg’s Cold War drama
based on the 1962 spy exchange of downed
American pilot Francis Gary Powers for
Soviet agent Rudolf Abel, starring Tom
Hanks as James Donovan, the wily New
York attorney drafted by the CIA to broker
the deal — in which Donovan comes home
to find his teenage son drawing blast radi-
uses and filling tubs. “I wrote that scene,”
says Spielberg. “It’s as close to my life as
you can get.”

Of course, Spielberg has drawn on his
own life before. E.T.: The Eoctra-Terrestrial
was inspired by the imaginary alien friend
he’d invented as a child to cope with his
parents’ divorce. Close Eneounters of the
Third Kind was born from a magical night
watching a meteor shower with his father.
But Bridge of Spies, despite its geopolitical
backdrop, is in some ways the most per-
sonal movie he’s made, touching on a part
of his childhood he never before explored
onscreen. “I haven’t made a movie yet
that is actually a mirror of my factual life,
and I don’t think I ever will,” Spielberg

has said in the past. But with this $62 mil-
lion drama, he does just that, putting
the words his own father said to him —
“Look, Steve, I know the Russians aren’t
crazy, and we’re not crazy, and it’s never
going to come to that” — into his favor-
ite actor’s mouth to re-create a precious
childhood memory.

“I’m not in therapy,” Spielberg joked
at a Nov. 4 invitation-only screening in
Los Angeles. “I use movies as my couch.”

“HI. IT’S STEVEN. I HEAR YOU HAVE
a pitch for me.”

Matt Charman had just returned to his
London home after a trip to Los Angeles,
where he’d spent four days trying to sell
his idea for a movie about a Cold War
hero nobody had ever heard of, when he
picked up his phone and listened, aston-
ished, to Steven Spielberg on his voicemail.

He had a pitch, all right. The 36-year-
old British playwright had spent several
years researching a screenplay about
James Donovan, a long-forgotten historical

SPIELBERG, HANKS, RYAN, STOWELL, RYLANCE: JAAP BUITENDIJK/ DREAMWORKS PICTURES/DISNEY.

AluMAiy.

1 . Spielberg (center)
with Hanks on the set.
“Donovan was pushing
a rock up a mountain
— the rock he was
pushing was justice,”
says the director.

2 . Hanks (right)
says Donovan was
confident he could
“kick the Russians’
asses” in a negotiation.

3 . Rylance as
Abel. When cast, he
reminded Spielberg
that, 30 years earlier,
he had turned down

a part in the director’s
Empire of the Sun to
Join the National
Theater. He’ll soon be
doing another Spielberg
film. The BFG.

4 . Hanks and Ryan in
a scene in which
Donovan is hounded by
news photographers.
“Spielberg made

it a comment by having
us walk [on the
discarded flashbulbs,]”
says Hanks. “He finds
these little nuggets
and they end up
being the coolest part
of the scene.”

5 . Stowell as Powers.

figure (he died in 1970) Charman had
been borderline obsessed with since he
happened to notice a footnote in Robert
Dallek s biography of John E Kennedy The
footnote pointed out that the man who
negotiated the release of captured Cuban
expats after the Bay of Pigs was the same
one who had negotiated the release of
Powers after his U-2 spy plane went down
in Russian air space (Powers famously
declined to take the suicide capsule hid-
den in a silver dollar). How, Charman
wondered, did an ordinary attorney find
himself at the center of not one, but two
of the highest-profile prisoner swaps of the
Cold War.? He dug deeper. He consulted
with the Kennedy presidential library in
Boston. He combed The New York Times
archive. He even met with Donovan s now
70-year-old son, John (played in the film
by 11-year-old Noah Schnapp) in a coffee
shop in New York. “I looked him in the
eye,” Charman recounts, “and said, T’d
love to tell your father s story’ ”

Prior to that fateful call, Charman had
honed a 20-minute presentation packed
with the story’s twists and turns, and, in
September 2013, flew to L.A. for those
four days of pitching. It couldn’t have been
an easy sell. Cold War thrillers haven’t
been a hot genre since the fall of the Berlin
Wall (look what happened to Guy
Ritchie’s recent 1960s flop The Man From
U.N.C.L.E.). And although Charman’s
meeting with then-Dream Works executive
Jonathan Eirich, over breakfast at the
Griddle Cafe, was encouraging — “Slow
down,” Eirich told him during the pitch.
“I want to remember this exactly as you’re
telling it, because I have a feeling Steven

www.thr.com I THE HOLLYWOOD REPORTER | 131

maximize the character s stillness) and
subtracted a few when it was on Hanks (to
highlight his character’s jitters). “It’s a
subliminal thing,” says the director, “but it
makes all the difference.”

At one point in the original script, there
was a scene set in Moscow, where the
Russians put Powers and the wreckage of
his spy plane on display in Red Square.

It was another bit of Spielberg’s life being
played out onscreen. Spielberg’s father,
Arnold, an engineer for General Electric,
actually was in Moscow on an exchange
trip when Powers’ crash was being turned
into a propaganda extravaganza
(Spielberg’s dad, now 98, provided research
for the scene with the Eodachrome slides
he took on the trip). But the cost of re-
creating Red Square would have inflated
the budget, so Spielberg cut it from the
final draft. Still, the director says, closing
the loop between film and autobiography,
“I’d never forgotten that story. The second
I heard Matt’s pitch, I knew there was a
connection between the story he had
unearthed and my own experiences being
a teenager during the Cold War.” QM

“rm not
in therapy.

I use

movies as
my couch.”

Spielberg

is going to love it.” — he returned to
London without any offers in hand. Then
he got that voicemail. “It’s nerve-wrack-
ing,” Charman recalls of his phone call with
Spielberg a few days later. “I had posters
of his movies on my wall growing up.” But
when Charman finished his presentation,
Spielberg said, “I love this. How fast can
you write it?”

Making a movie with Spielberg is always
a race against the clock — he usually has
multiple potential Aims waiting for a slot
on his schedule — but in this case, speed
was especially of the essence. Spielberg had
a year window before he would start
back-to-back shoots on TheBFG and Ready
Player One. To make Bridge of Spies work,
he’d need a shooting script in hand no later
than fall 2014. But Charman worked
quickly, pumping out a first draft in five
weeks (Joel and Ethan Coen took another
six for a polish and screen credit). Then
Spielberg reeled in Hanks, sending the
script directly to the actor. “When it
goes in stealth to Tom,” says DreamWorks
producer Kristie Macosko Krieger, “he
knows Steven means business.”

Hanks, a Cold War buff, didn’t require
much convincing. As soon as he finished
reading, he started Googling Donovan. “I
needed to And the man talking,” Hanks
recalled at that same invitation-only Nov. 4
screening (although, he admitted, his
portrayal “may have added a little extra
syrup to the pancakes”). The rest of the
cast — Mark Rylance as Abel, Amy Ryan as
Donovan’s wife, Mary, and Austin Stowell
as Powers — quickly fell into place while
Spielberg’s production designer on the
film, Adam Stockhausen, looked for a loca-
tion to build Berlin in 1962. “It was really
important to Steven to get Berlin right,”
says Stockhausen. “There’s this false

sense that it was really cleaned up quickly
[after the war] and it just wasn’t.” These
days, Berlin looks more like Dubai than
a bombed-out ruin; the skyline has been
bursting with new construction since
the 1990 unification. But then Janusz
Kaminski, Spielberg’s longtime director of
photography and a Poland native, sug-
gested Wroclaw, a city near where he grew
up that looked a bit like postwar Berlin.
And it looked even more so after the pro-
duction erected a three-block-long stretch
of the Wall — not the imposing edifice of
the 1980s, but the more primitive structure
of the early Cold War. “The first version
was thrown up as just concrete slabs with
cinder block,” says Stockhausen.

Spielberg shot the movie fast — in
just 59 days — which is how he likes it. “You
just get into the scrimmages, one after
another until you’re shooting, then you’re
cutting and then. Anally, school’s out,”
he describes of his process. Hanks, who
has made three previous Alms with the
director, has learned to keep up with the
pace. “He’s different than other direc-
tors,” says the actor. “He’s got the Aim cut
in his brain long before we show up. He
thinks in cinematic terms.” Spielberg’s
longtime editor Michael Kahn (E.T. is
the only movie they haven’t done together
since 1977) says much the same thing:
“He shoots for the editing room.” The edit-
ing room is oAentimes housed in a trailer
next to Spielberg’s, so that he and Kahn
can begin cutting the dailies immedi-
ately. And it’s there, at the editing bay, that
Spielberg digs into the real marrow of his
movies. There’s ajailhouse scene in Bridge
of Spies, for instance, between Hanks
and Rylance. Spielberg and Kahn spliced
it frame by frame, added a few beats
each time the camera was on Rylance (to

1. Hanks (left, with Spielberg) says of the director, “Steven thinks in cinematic terms, [so] my requirement
is to show up [and perform] as if it’s going to be in the movie.”

2 . The Berlin Wall, circa 1961.

3 . Donovan (left) and Abel (center) during Abel’s 1957 trial for espionage. “According to the Donovan children,
the movie is true to Donovan and Abel and the uniqueness of their relationship,” says producer Marc Platt.

132 I THE HOLLYWOOD REPORTER | 11.27.15

APPLE • BANANA REPUBLIC • BCBGMAXAZRIA • BEBE • CLUB MONACO
COACH • DIESEL • OUESS • H&M • HALSTON HERITAGE • HENRI BENDEL
L.K. BENNETT • LACOSTE • MAJE • MICHAEL KORS • POLITIX
SANDRO • SEPHORA • TRAFFIO • TRUE RELIGION • UNIQLO
VICTORIA'S SECRET • XXI FOREVER

HARTMANN • SIX:02 • VANS - NOW OPEN
COS • ROBIN'S JEAN - COMING SOON

BIVERLUEIITEII

BLOOMINGDALE'S • MACY'S

BEVERLY BOULEVARD & LA CIENEGA • LOS ANGELES CA

BEVERLYCENTER.COM

PLAYBOOK

ACTORS AND ACTRESSES

MY SECRET FOR
DISAPPEARING
INTO CHARACTER

Twenty stars of awards season talk movingly about how
they inhabited fear (T didn’t sleep for two nights’), love
(‘the ^low is in my muscle memory ... my husband died 15 years
ago ; and nerves (‘I had a full-body panic attack’) onscreen

BY THELMA ADAMS AND SCOTT FEINBERG

Emily Blunt, 32

KATE MACER, AN FBI AGENT, IN Sicario

It was a completely alien world to me. I don’t
have the guts. I spoke to four women in the
FBI — I based Kate on one of the women that
had the innate toughness and cool essence to
her personality, and yet she was quite shy. My
character goes through an extremely diffi-
cult experience: She is highly skilled, but she’s
thrown into a world she finds incoherent.
The most challenging part of playing Kate
was trying to show a character who is not
naive but has a pure moral compass, who is
tough but also over her head. She is not one
thing. It is a film about the gray matter of the
war on drugs — and humanity. The tough-
est scene was when Jon Bernthal’s Ted attacks
me in my apartment: There needed to be a
desperate struggle that was not over-choreo-
graphed. The adrenaline and the reality
of feeling very overpowered by someone big-
ger and stronger than you seeps through
your skin, whether you want it to or not. I
have never been an actor to take my work
home with me, but after that physical conflict,
I got home and didn’t sleep for two nights.

Abraham Attah, 15

AGU, A CHILD SOLDIER, IN Beasts ofNo Nation

I decided to read the script to remember my
lines before going on set. I watched a movie
called Dog because it was about

child soldiers. Shooting our movie, all of the
violence did not feel real — it felt fake. But I
did feel frightened when I was walking in
the jungle alone. I was afraid of snakes, and
the camera was far away. From [co-star]
Idris [Elba], I saw that on set, when he had
free time, he would be reading the script,
reciting it aloud so he would be able to recite
the script without sounding like he was read-
ing a book. Yes, I will continue acting. Now
I know where to look at the camera, and if
they tell me to find the light, I know how to
find the light. When I had to be sad as Agu,
I thought of the story from a boy named
Justice who was in the movie. Justice, who
was about 15, told us he found out that his
mother had died. He went to find his father.
His father said he wasn’t the boy’s real father
— he kicked him out of the house. So sad.

Blythe Danner, 72

CAROL PETERSEN, A WIDOW, IN I’ll See You in My Dreams

That love glow at the movie’s center is in my muscle memory. My husband died
15 years ago, so I have to say life prepared me. Then there was the attraction, of
course: Sam [Elliott] was divine. And I liked my character, Carol, so much more
than myself. She’s rooted in a quiet place that I’m not — her center is much more
at peace. I like her little bit of snarky veneer that’s built up. She’s the wisenheimer
of her group of friends, speaking out of the corner of her mouth — a Barbara
Stanwyck throwback to a former movie era. She was gutsy; she faced the last
chapter of her life without fear or trepidation. And then there were the bridge
lessons — none of us knew how to play bridge. We all were unhappy with the older
guy, the bridge expert. You can’t say no to actors; we’re children.

134 THE HOLLYWOOD REPORTER 11.27.15

BryRn Cranston, 59 dalton trumbo, a blacklisted screenwriter, in Trumbo

If you’re playing a character who is nonfictional, there is an added responsibility:
Lyndon Johnson, say, or Dalton Trumbo. There is a plethora of source material,
and Trumbo’s two daughters, Nikola and Mitzi, are still alive, and even though
they were children at the time, I would ask them a bunch of questions. For
instance, an earlier iteration had Trumbo tell his kids to hop in the car, and he
takes them for ice cream. Nikola and Mitzi giggled — that was Cleo, their mom,
especially during the blacklist years. Cleo clearly was the emotional foundation
and kept the fires burning at home. As much of a vulnerable, noble battle that
Trumbo was embroiled in, there was also some selfishness. We had really hon-
est exchanges about how irritable and angry and impatient he could be. It
is important to know that the families of these blacklisted writers and directors
paid a price and suffered as much as the men themselves.

Paul Dano, 31

YOUNG BRIAN M\i MSOH, Lov 6 Mercy

The music was the soul of my preparation: I listened to the music, the studio
sessions, and learned to perform Brian Wilson s songs. Singing and playing
Brian s music literally puts it in your body, and you feel it move through you.
I think he is at home when he is at the piano — music is him. He’s giving
you everything in his music. There’s a lot of other stuff that circled around
that, but the music is when you catch Brian’s true spirit. I tried to feed
off the music as much as I could. I found inspiration in a lot of songs, par-
ticularly “You Still Believe in Me.” Also, Brian’s such an open, honest, raw
person — he didn’t build up layers of skin that most of us do to survive. It’s
what brought great music and is painful. I had to open myself up to be
in the most open, raw space: to experience the seesaw of making music and
creative joy one second and then struggle and pain the next.

Ian McKellen, 76

SHERLOCK HOLMES,

Mr. Holmes

When you play Hamlet,
you can’t worry that you’re
the thousandth actor of
the century to play Hamlet.
When I was playing Hamlet
in London, some critics
said: “We can’t see Hamlet
again — I’m sorry. There
have been 10 Hamlets this
year already; we can’t see
another.” That didn’t really
apply to Holmes because
our script was a new take on
him. The idea of this ver-
sion is that Sherlock Holmes
is a real person, not a fic-
tional one. So it didn’t worry
me at all that, I think, it’s
130 actors who’ve played
Sherlock Holmes. I did
say to [director] Bill [Condon],
“I’m not working with bees.”
He said, "You are,” and I said,
"You can CGI them later.” He
said, "This is an indepen-
dent movie — we can’t afford
special effects like that.” So
I went to bee school. A man
taught me how to attend
to them: You dose them in a
bit of smoke, talk to them
nicely, and they’re fine.

Saoirse Ronan, 21

EiLis, A 1950 S IRISH IMMIGRANT, IN Brooklyn

It’s an incredibly emotional piece,
and initially when I read it, to
me it was my mum and dad’s story.
They had moved over to New
York in the ’ 80 s, and I was born in
the Bronx — myself and Jennifer
Lopez are both from “the block.”
Initially that was the telltale sign
for me that this was the perfect first
fully Irish project for me to be
involved in. There was a year or so
from when I signed on to when
we actually made it, and during that
time I moved away from home
to London, and I experienced that
homesickness. It’s a very daunt-
ing thing, the realization when you
do leave home that you can’t go
back. That you can never go back
to how things were, and you sort
of have to adapt to that. I was still
adapting, and to go home in the
middle of that process to make a
film about home and about home-
sickness was overwhelming.

Alicia

Vikander, 27

GERDA WEGENER,

A YOUNG ARTIST, IN

The Danish Girl

It was wonderful to
have Gerda’s art —
her personality came
through. She was
successful in her own
time, experiencing
that struggle any art-
ist undergoes trying
to find their own
voice and be true to
it. Other people
will start to appreci-
ate the work once
you find your own
voice. Gerda started
to become very suc-
cessful when she
found her muse in Lili
[Eddie Redmayne’s
transgender artist].
It’s pivotal in the
beginning with Gerda
starting to paint
Lili — both of them go
on the journey of
allowing Lili to step
forward and see her
true self Gerda goes
on a journey, too.
People forget the wife
was on a transition
as big as her partner’s
— they were a couple
going through a
big change together.

I was privileged
that my emotions,
that are my tools,
were employed to
portray such an
extraordinary woman.

SICARI0-. RICHARD FOREMAN JR./LIONSGATE. DANISH: COURTESY OF FOCUS FEATURES. HOLMES: GILES KEYTE/ROADSIDE ATTRACTIONS. BEASTS: SHAWN GREENE/NETFLIX. TRUMBO: HILARY BRONWYN GAYLE/
BLEECKER STREET MEDIA. BROOKLYN: KERRY BROWN/20TH CENTURY EOX. DREAMS: COURTESY OF BLEECKER STREET MEDIA. MERCY: FRANCOIS DUHAMEL/ROADSIDE ATTRACTIONS.

Elizabeth Bank§, 41

MELINDA LEDBETTER,

BRIAN WILSON’S GIRLFRIEND,

IN Love Mercy

It was all about meeting the
real Melinda Wilson — she
held the keys to the character.
I had to put aside my own
biases about mental illness and
relationships. She reminded
me about patience, about never
playing the whole movie, the
whole life, but being present
in the moment. When you
meet Brian Wilson, he’s such a
gentle spirit. He brings you in,
and he requires slowing every-
thing down to the wavelength
on which he operates. This is
a great love story. They are still
married — they have five kids,
12 dogs. They did it! They won!
They were two people dream-
ing about their second act. She
had given up on love, children
and marriage. People tell me
my character saved Brian, but
they saved each other.

Eddie Redmayne, 33

EINAR WEGENER/LILI ELBE, A TRANSGENDER WOMAN IN THE 1920 S, IN The Danish Girl

The most complex side of it was finding Lili’s inner life and her emotional
story, and that was from meeting transwomen of different generations.

A friend of mine described the early part of her transition, this phase of
what she called hyper- feminization — which is when you come out and
you’re sort of entering the world, and she would wear perhaps too much
makeup and dresses that were hyper-feminine. She related it to teenage
girls’ adolescence and trying things before getting rid of some of those
things she found herself shedding. And that was interesting — that was
something I wanted to bring. This wasn’t about me convincingly being a
woman; it was more about being Lili.

Joseph Gordon-Levitt, 34

PHILIPPE PETIT, THE WIRE WALKER, IN The Walk

There was more preparation than my average role. One
part was physical: how to walk on the wire. I began with
Philippe himself — he set up this elaborate eight-day
workshop. Not everybody that is good at doing is good at
teaching, but he is a great wire walker and also an excel-
lent teacher. We spent a ton of time together walking on
wire. We all have some measure of fear of heights. There’s an
instinct: If you put someone up high, the body instinctually
pumps adrenaline. When we shot, I was notno stories in
the air, but I was on a wire 12 feet in the air, high enough to
pump adrenaline through my veins — that was what I
needed my body to do. I didn’t have to fake that.

Patricia Clarkson, 55

WENDY, A BOOK CRITIC AND DIVORCEE,

IN Learning to Drive

The prep was the life I’d lived — the pain,
agony, rejection and acceptance. Even
though I have not lived Wendy’s exact
life, I have suffered in ways women do and
women of a certain age do. I realized
Wendy made mistakes in her self-centered
life. Playing a woman who was not neces-
sarily sympathetic but had great humor at
the core — juxtaposed with abject despair
— challenged me. It was like lightning
rounds — split-second emotional shifts.

Tom Courtenay, 78

GEOFF MERCER, A LONGTIME MARRIED MAN, IN 45 Years

The part felt like it was written for me. The preparation is in the script. I like to learn the words
of the part; when they’re in you, they do things with your imagination if they are good words,
which I thought they were. I like to get the glasses sorted, the spectacles. I’m very keen on
sending a picture of me in spectacles to the director — I get an extra pair in my prescription.
Alec Guinness said he always started with the shoes; I like to start with the spectacles. Working
opposite Charlotte Rampling, we’re both pretty naturalistic. Sometimes I have a lot to say; she’s
a good listener. And then I listened to her like you’re supposed to listen to each other. My wife
says I don’t listen to her, but that’s how wives feel. As for the sex scene, I had no trouble what-
soever — and not many lines to learn. You can’t take it too seriously. I was much more nervous
about the dance scene. Charlotte and [writer-director] Andrew [Haigh] were making fun of me.
They said, “It doesn’t matter if you aren’t very good.”

Michael
8hannon, 41

RICK CARVER,

A REAL ESTATE
BROKER,

IN 99 Homes

Carver is a broker in
the Orlando area.
When the foreclosure
crisis hits, he was
assigned the task of
doing evictions —
assigned to do a lot of
them. I had likened
it to the bubonic
plague: Somebody
had to go scrape
the bodies off the
streets. He receives
a lot of animosity
from people because
he’s the one who
shows up and kicks
them out of their
house, but he’s deal-
ing with a very
complicated situation,
and he’s doing the
best he can. [Director]
Ramin [Bahrani] is
quick to point out that
I can’t help but feel
empathy for my char-
acters — it’s my way
of looking at things, I
guess. I met a guy who
was in the same posi-
tion as Rick, and I felt
very sorry for him.

He has a hard life and
has a lot of angst. I
don’t judge people —
the world is a horri-
fying place, and it’s
full of people that
are trying to do the
best they can. The
only way I’ve ever
looked at a character
I’ve played is as a
person, a citizen of
the world.

g ^

136 I THE HOLLYWOOD REPORTER | 11.27.15

In POLITE
SOCIETY, it is

inconsiderate
to withold a

BE AUTY SECRET.

Particularly if
that5ccn?ris

VIOLET GREY

owMelrosePl.

#giveVIOLET

VIOLET GREY

THE INDUSTRY’S BEAUTY EDIT

VIOLETGREY.COM I 8452 MELROSE PL., LOS ANGELES, CA 90069

ACTORS AND ACTRESSES

Julie Walters, 65

MRS. KEHOE, A

BOARDING-HOUSE LANDLADY,

IN Brooklyn

I loved Mrs. Kehoe when I read
the book. When they asked
me to play her, I was thrilled.
My mother was Irish; I was a
child in the ’50s. I remember
my mother’s Irish friends — it
did not feel like a strain. The
challenge was looking at my
reflection in that wig in the
morning. She feels part of me
but not part of my personal-
ity. I wouldn’t run a house like
that, and I did not run a house
in 1952. She has such a differ-
ent life, ruled by the Catholic
Church. She’s living through
these girls, and that’s what
those scenes are about. At the
dinner table, she just comes
out with, “Now, Eilis, you have
greasy skin.” That kind of
thing might have been said to
me — abrupt, without con-
cern it might offend. It rang
so many bells, reminding me
of my mother’s friends. Mrs.
Kehoe is not my mother, but
she reminds me of that tone
when I was around as a child.

Jason Segel, 35

DAVID FOSTER WALLACE, THE LATE AUTHOR, IN The End of the Tour

I rented a house in a little town where I could just read and I could practice the voice
and things like that, and I could start wearing a bandana — so when I got to set, it didn’t
feel like I was wearing a superhero costume. Then I started a book club in the local
town to read Infinite Jest. I went to the local bookshop, and they offered to do a book
club with me, and it was the best part of the experience. We would read 100 pages a
week on our own and get together on Sundays and talk about it. It really informed the
performance. The book is so honest, in a very funny way, but it resulted in four grown
men in their 30s sitting around on a Sunday night. I was a stranger to them, and they
didn’t know why I was doing it either — I didn’t tell them that. Talking about feelings
like loneliness and where we place our value, and seeing that the book had that effect
on people, was really an important part of the process. I also had to gain a bunch of
weight — we had photos to match. We were like three weeks out of shooting, and I did
a hair and makeup test. I looked too thin for this particular four-day period, so I put
myself on this terrible Hot Pocket diet of two Hot Pockets every three hours. You go with
the ham and cheese every time; pepperoni and cheese is so good, too.

Chiwetel Ejiofor, 38

VINCENT KAPOOR, A NASA EXEC, IN The Martian

Sarah SUverman, 44

LANEY BROOKS, A SELF-DESTRUCTIVE MOTHER, IN / Smile Back

As the head of the Mars mission, I didn’t have to do the
physical astronaut preparation, although I was trying
to understand the kind of pressure you would be under
in an interplanetary operation. I had previously worked
on American Gangster \N\th [director] Ridley [Scott]. He
has such a wonderful process with actors, creating an
immersive world for you to operate in. He also casts really
well, so you are always playing with people at the top of
their game and on top of the material. It was, in fact, a
very straightforward process, from meeting up with
Ridley to discuss character to space agencies, then on
set and working with Jeff Daniels, Benedict Wong and
Sean Bean. I definitely want to play an astronaut at some
point. This is the closest I’ve got, so maybe next time.

When [screenwriter] Amy Koppelman sent me the book and wrote
the adaptation with Paige Dylan, they wanted to attach me to the
script. I didn’t think twice — it didn’t occur to me it would ever get
made. Two years later, I got a group email saying we got the funding.

I replied all then sank, coiled in a ball. I had a full-body panic attack.
I realized that is the state of mind Laney is always in. As for coming from
comedy, almost all comics come from a dark place — they became
funny as a means for surviving childhood. We are all trying to survive
our childhoods. And you realize your mother is a person, and she is
just trying — that never ends. Even in my comedy I like to talk about
things that are taboo and shine light on things in darkness. It’s like that
joke: People think when they hate themselves, it’s self-deprecating.
But it’s not modesty, it’s self-obsession. Mother Teresa didn’t walk
around complaining that her thighs touched — she had shit to do.

Edgar Ramirez, 38

TONY MIRANNE, THE LEAD CHARACTER’S EX-HUSBAND, IN Joy

Tony is a struggling nightclub singer. I went through vocal preparation for the
first time — I never sang before. [Writer-director] David O. Russell and I worked
closely finding the tone. The musical style is intimate, and that word describes
the collaboration with David. It was a beautiful experience, intense and revealing,
discussing the songs and returning to the classics. David always challenges you:
Everything he says is so intimate and personal, and he is very involved every step
of the way. Tony is a musician — a good, tender, flawed guy. He truly loves Joy. He
ends up living in her basement. They are best friends and allies. He is the sweetest
and most tender character I’ve ever played.

Clockwise from top left: Walters, Weisz,
Ramirez, Segel, Silverman and Ejiofor.

Rachel Weisz, 45

LENA BALLINGER, A MUSICIAN’S DAUGHTER,

IN Youth

I have a father, so I kind of lived the prepa-
ration. I didn’t have to go and investigate
having a father. He’s not a musician like
Michael Caine’s character, but he is suc-
cessful in his own right, in his own field. I
loved this idea of a daughter that loves her
dad so much that she’s her father’s assistant.
She still shares a bed with him — no big
deal with it. She’s clearly got some daddy
issues, and I found that amusing. The
screenplay taps into what it is to be a parent
and what it is to be a child. Everyone is a
child of someone. Working with Michael, we
meshed. Both of us, we’re doers; we don’t
want to analyze. We’re happy to chat about
life experiences, and Michael is a keen sto-
ryteller who has acted opposite everyone, but
he doesn’t want to analyze the scenes — he
just wants to do them. We were similar in
that respect, not taking them apart ver-
bally between takes. The director, Paolo
Sorrentino, is like that, too. There were
lots of takes. We played around and enjoyed
ourselves and got lost in the material.

tpost Estates* Los Angeles
' for $3,195,000

|Til

fJII

4 . : r *,

If You Expect Alot From Your Realtor, Call Me

1-310-800-5U1

skyler@skyierhynes.com 1^

facebook/skyleilherealtor |/ :^v||^

I COLDWELL BANKER

PREVIEWS

INTERNATIONAL

For a 360-degree Virtual Tour Of This Property - http://www.outposduxury.com

t ^ 'vV >>■ .

in^ Ot>oi>»< Bfifcw W—i E«IW uQui mq/tm Pair HM«nf Aei m ti* E^mH OpponwMr Act eacft C aWaai Bm*m n i»iia w iii » o i n» aia o^ea » o»awa< »y a w t ol

IC CM***** tagai C ei d aiaif^iif6i» A iiirt>a» |< |iiia a i a |ia ^ an a >w>C»3^Bar»<« a w aa ow ii tefD. a»iaQMW«aawacawar»owaiaabf C eidiiaa tt aKa* Wart C a i aiB LLC CaARE «0itl74at

PROMOTION

GEN

2015

On Nov, 4, The Hollywood Reporter

celebrated its 22nd annual Next Gen
class at Los Angeles hotspot E.R & L.R More
than 250 of Hollywood’s up-and-coming
executives came together to toast the
listmakers and enjoy cocktails, hors d’oeuvres
and music provided by DJ Allie Teilz.

The Hollywood Reporter thanks its
sponsors American Airlines, Audi and A&E.

1 , Next Gen honoree Ben Winston of The Late Late
Show with James Corden in front of the all-new
2016 Audi A3 e-tron. 2 , Guests of the event were
served American Airlines’ custom cocktails. 3 , The
Next Gen class posed for the 2015 class photo on
the rooftop of E.P. & L.P. 4 , Three generations of
UTA Next Gen alumni (from left): Steve Cohen (’13),
James Kearney (’15) and Allan Haldeman (’12). 5 , A-
list DJ Allie Teilz curated the ultimate playlist for the
event to promote A&E’s Shining a Light: A Concert
for Progress on Race in America. 6, The event in-
cluded a display with photos of the Next Gen class.

7, Next Gen honoree Lisa Holme and guest posing in
the American Airlines photo booth.

□

Mandarin Oriental, New York

80 Columbus Circle at 60th Street, New York, NY 10023
For reservations or more information, please call +1 (212) 805 8800 or visit mandarinoriental.com/newyork.

REVIEWS

I at studio filmmaking
, Rocky spinoff boosted

one By Todd McCarthy

Stallone is Rocky and
Jordan the son of his
former rival, Apollo Creed.

YLVESTER STALLONE
doesn’t get back in the
ring in Creed, but he
comes away a winner in
this farfetched but likable
offshoot of the Roeky series. The
actor is more appealing playing the
aging Rocky Balboa than he’s
been since the beginning of his 40-
year career. Essentially taking
on the role of Burgess Meredith’s
trainer character from the series’
early days, Stallone delightfully
registers as d^paisano from the
old neighborhood, a man of the
streets who’s lived his life, fought
his battles and has no more scores
to settle.

From the points of view of
director/co -writer Ryan Coogler
and star Michael B. Jordan, this
marks some major mainstreaming
after their bracing 2013 indie-
breakthrough Fruitvale Station.
Dramatically, it’s the same old
Roeky formula applied now to the
hitherto unknown son of the late
Apollo Creed. The conceit is that

Rocky’s fearsome opponent from
the first four entries left behind
an illegitimate son, who, after a
rough, largely parentless child-
hood, begins pursuing the fight
game in seedy venues in Tijuana.

Thinking he might be
good enough to follow in his
father’s footsteps, Adonis Johnson
(Jordan) has no trouble tracking
down Rocky at the Philadelphia
Italian restaurant Adrian’s, named
after the boxer’s late wife, and
convincing Rocky to guide him in
his quest.

The script by Coogler and former
use grad school classmate Aaron
Covington follows a predictable line
from here on: Rocky starts training
his new charge, taking him back
to his old Front Street Gym; Rocky
goes to the cemetery to sit and talk
with Adrian; Adonis meets neigh-
bor Bianca (Tessa Thompson), a
local singer (an interesting touch
has Bianca coping with a degen-
erative ear problem that forces her
to wear hearing aids).

Melodrama and fantasy-
fulfillment plotting demand that
a high-stakes fight be arranged
for Adonis far earlier in his career
than would ever be the case
in real life. The way it’s been shot,
though, is interesting: all in one
take for the first round, with the
Steadicam moving around the
ring in a manner as agile as the
boxers themselves.

Winning this matchup lets the
cat out of the bag that this kid is
the son of Apollo Creed. The news
attracts the attention of British
light-heavyweight champ “Pretty”
Ricky Conlan, who, for reasons
of his own, needs a quick fight and
sees a presumably easy pay-
day in taking on the inexperienced
American with such a famous
lineage. The Liverpool setting of
the climactic bout, Tony Bellew’s
attractive toughness as Conlan
and Scottish actor Graham
McTavish’s rough authenticity as
the latter’s manager provide
a welcome new flavor to the film.

Still, the action of the big fight
feels hyped up and pretty far from
convincing, leading, of course,
to an unimaginably frenzied final
round. The door certainly is left
open for more where this came
from if audience response war-
rants it.

Coogler makes a smooth, sturdy
transition from the indie world
to big-budget studio filmmaking,
and, buffed into ring-ready shape,
Jordan acquits himself well, even
if Adonis’ insecurities aren’t as
extensively explored as they might
have been. Thompson brightens
every scene she’s in, while Phylicia
Rashad as Apollo’s widow mostly
looks on supportively from afar.

Opens Wednesday, Nov. 26
(Warner Bros.)

Cast Miehael B. Jordan,

Sylvester Stallone,

Tessa Thompson,

Phylicia Rashad, Tony Bellew
Director Ryan Coogler
Rated PG-13, 122 min.

142 I THE HOLLYWOOD REPORTER | 11.27.15

NO SECOND CHANCE

8.7 MILLION VIEWERS ON TFl
35% AUDIENCE SHARE, 38% SHARE OF WPDM<50

RECORD-BREAKING FIGURES FOR A FRENCH SERIES SINCE 2006

SYDNEY GALLONDE, PRODUCER, VAB PRODUCTION, AND TFl WOULD
LIKE TO THANK ALL THE CAST AND CREW WHO BROUGHT
THIS WONDERFUL PROJECT TO LIFE.

AND A VERY SPECIAL THANKS TO OUR SHOWRUNNER HARLAN COBEN
FOR MAKING THIS WORLD PREMIERE ADAPTATION OF

HIS BESTSELLER POSSIBLE.

“MAGGIE SMITH IS
SPECTACULAR. THE KIND
OF TOTAL DELIGHT SO
RARE IN MOVIES TODAY.”

-Rex Reed, NEW YORK OBSERVER

“ACTING LEGEND
MAGGIE SMITH’S
TOUR DE FORCE AS A
CANTANKEROUS OLD
BRITISH BAG LADY.”

-Lou Lumenick, NEW YORK POST

“MAGGIE SMITH IS SUPERB.”

-Catherine Shoard, THE GUARDIAN

“DAME MAGGIE DELIVERS AN
AWARDS-WORTHY TURN.
THE 80 YEAR OLD ACTRESS
DOESN’T DISAPPOINT.”

Frank Scheck,

THE HOLLYWOOD REPORTER

BEST ACTRESS

Maggie Smith

THE

LADY

IN THE

VAN

SONY PICTURES CLASSICS^

REVIEWS

television

Davalos runs from
Nazis in an alternate
America ruled by
Germany and Japan.

The Man in the High Castle

Based on Philip K. Dick’s dystopian novel about a post-WWII America ruled by Germany and
Japan, Amazon’s series captivates with bold visuals and a strong narrative hook By Tim Goodman

A fter many attempts
to bring Philip K. Dick’s
novel The Man in the High
Castle to TV, this alternate history,
which imagines what America
would look like had it lost World
War II, has found a home at
Amazon. The resulting 10 -episode
series is bold, intriguing and
visually impressive.

It s 1962, 17 years after a U.S.
defeat at the hands of Germany
and Japan. Nazis control most
of the Eastern United States (now
called the Greater Nazi Reich),
while Japan controls the West
(now called the Japanese Pacific
States). There is a lawless “neu-
tral zone” slicing through the
country along the Rocky
Mountains. Americans are liv-
ing under occupation.

It’s a stark, interesting con-
cept, and writer and executive
producer Frank Spotnitz (The
X-Files), pilot director David
Semel and the team of set design-
ers deserve high praise for the
dark, sprawling visual canvas
they’ve created. Indeed, much
of the series’ appeal — at least in
the early going — is its evocative

look and feel, which capture the
essence of sci-fi without the trap-
pings; there are no spaceships,
but the widespread presence of
American Nazis is as disorient-
ing as any alien.

The series centers around
Juliana (Alexa Davalos), who lives
in San Francisco with her boy-
friend, Frank (Rupert Evans).
Juliana’s sister joins the Resistance
and agrees to deliver a secret film
reel to the neutral zone — more
specifically, to the so-called
“Man in the High Castle” — but
is killed before she leaves. Now
Juliana has the reel, and when she
watches it, she sees mysterious
images of an Allied victory. This
discovery sends her down a
deadly path of trying to dodge
both the Japanese and the
Nazis, who have spies ever3rwhere
and are trying to hunt her down
and destroy the reel (and the
Resistance). Complicating things
is the fact that Juliana is no
warrior, and Frank, who’s still
hiding his Jewish heritage, has
no interest in joining the cause.

The standout supporting play-
ers are Rufus Sewell as a Nazi

named John Smith and Joel de
la Fuente as head of Imperial
Japan’s brutal secret police. Both
are crucial to a secondary story-
line about the tense relationship
between Germany and Japan
as co-occupiers of the U.S. (that
tension is heightened by Hitler’s
failing health and uncertainty
over his successor).

The show does such a thor-
ough, vivid job depicting life
under oppressive rule that it takes
a while for little fiaws to start
nagging. My main concern is that
The Man in the High Castle seems
in no rush to answer the main
question at hand — why are the
images on the film reel so different
from “reality”.? — and sustain-
ing tension and interest over the
course of a whole season is no
easy feat. The first six episodes let
viewers marinate in the frustra-
tion of captivity without providing
hints of resolution. Luckily,
the series is more than absorb-
ing enough to warrant sticking
around — for now.

Airdate Friday, Nov. 20
(Amazon)

144 I THE HOLLYWOOD REPORTER | 11.27.15

1447 El Vago Street - La Canada Flintridge - Offered at $3,749,000

Wow. Striking Contemporary home designed by James Coane and built by the current owners in 2000 with quality
and serene placement on the lot. Unbelievable entertaining opportunities with open living room, dining room
and kitchen flowing together and outside to pool and patio area. Four bedroom suites for family and guests. Two
offices (or office and additional bedroom) plus bath on the kitchen side of the house, too.

• Living room with fireplace • Unbelievable movie studio executive home

• Spacious kitchen with walk-in pantry

• Family room with fireplace

• Three bedroom suites upstairs plus

theater with state-of-the-art screening room

• Gated, wooded 2 1 ,41 1 square foot lot per assessor

• House, including home theater, measures

guest suite downstairs for privacy

5508 square feet per REST

FOR MORE INFORMATION VISIT WWW.1 447eLVAGO.COM

REVIEWS

television

Quaid and Bosworth are
auction world power players.

The Art of More

Dennis Quaid can’t save Crackle’s misjudged foray into glossy drama By DanieU. Fienberg

C rackle isn’t going for a “we’re
better than TV” strut with its first origi-
nal one-hour drama, The Art of More.
The Sony-owned streaming service is the home
of Joe Dirt 2, so their brand isn’t elitism — and
indeed, The Art of More is closer in quality to a
slightly below-average network show.

Set against the backdrop of the high- stakes
auction world, these 44-minute episodes fea-
ture no language, violence or sexual content
that would seem out of place on CBS at 10 p.m.

Our hero is Graham (Christian Cooke), a
blue-collar Brooklyn kid now working as an
account executive at a Park Avenue auction
house. He also is a war veteran, having served in
Iraq, where he became involved in smuggling
ancient artifacts. Mentored by collector Arthur
(Cary Elwes), Graham is trying to land an art
collection owned by Sam (Dennis Quaid), a
sleazy, Trump-esque billionaire with political
aspirations. Graham’s rival is Roxanna (Kate
Bosworth), the heir to a competing house,

146 I THE HOLLYWOOD REPORTER | 11.27.15

who’s trying to make her own name while strug-
gling with obligatory demons.

After the first episode. The Art of More settles
into a simple structure: Each hour begins by
showing us the origin of a valuable object then
follows the path of that object all the way to
auction. It’s theoretically a versatile format,
but creator Chuck Rose overwhelms it with
clunky narrative.

Graham gets sucked back into a smuggling
operation, and we’re subjected to generically
staged Iraq flashbacks featuring generic Middle
Easterners, Russians and Latinos, each more
stereotypical than the last. Lest you think The
Art of More discriminates, the biggest carica-
ture probably is Elwes’ ascot- sporting Brit.

Cooke is as laughably unconvincing as a street-
bred New Yorker as Montreal is as a stand-in
for the Big Apple. The actor simply can’t carry
the show or distract from how sporadically its
big names actually are appearing. Quaid pops
up for a couple of scenes in each episode and

conveys that rascally twinkle that made him
a star in the ’80s; it’s not exactly a creative
stretch. Meanwhile, the frequently misused — or
underused.? — Bosworth mainly is there to
support Cooke.

The penthouse apartments, glitzy clubs
and Martha’s Vineyard vacation escapes all are
flatly designed, underpopulated and light on
glamour. The Art of More tries to sell a lifestyle
but instead becomes a cautionary tale about
trying to live out caviar dreams on a Filet- O-
Eish budget.

Airdate Thursday, Nov. 19 (Craekle)

TURNEY’S OFFICIAL OSCAR ® ENTRY BEST FOREIGN LANGUAGE FILM

“Unflinching...

Strikingiy photographed...”

The Hoiiywood Reporter

MOSTRA 1KTERNAZKMAU
D'JUVrr CtMEMATOGRAHCA
U Btcfifuif di ttrneiLi 20J4

"It**-'' It!' I '1*7^

WINNER \

FfATuw raM ^

Monday, November 23, 7pm

Raleigh Studios -
Chaplin Theater,

5300 Melrose Ave.,

Van Ness Cate,

Los Angeles, CA 90038 -
AMPA5 FLONLY

Saturday, December 5,
4:30pm

Dick Clark Screening Room,
2900 Olympic Blvd,

Santa Monica-
Q&A w/director

Saturday, December 5, 6pm

Soho House WeHo,

9200 Sunset Blvd.,

West Hollywood 90069 -
Q&A w/director -
AMPAS FLONLY

Saturday, December 12,
3:30pm

Wilshire Screening Room,
8670 Wilshire Blvd.,
Beverly Hills,

90211 - Q&A w/director

OFFiCiAL AMPAS SCREENiNG^
FRiDAY, NOVEMBER 20,

2015 at 7:30pm

Samuel Goldwyn Theatre,

8949 Wilshire Blvd.,

Beverly Hills 90212
*AMPAS FL members only

LOS ANGELES SCREENINGS FOR AMPAS & GUILD ONLY

RSVP: sivasRSVP@yahoo.com

FOR YOUR CONSIDERATION

BEST FOREIGN LANGUAGE FILM - OFFICIAL ENTRY - BRAZIL

BEST ACTRESS - REGINA CASE

WINNER

.T ronx:'i»*a

Sundance

SECOND MOTHER

WINNER

BERLIN

FILM FESTIVAL

AUDIENCE AWARD

FILM BY ANNA MUYLAERT

“It's the gift of writer-director Muylaert to pay attention to the farcical elements and to clothe serious issues in unforced, naturalistic human situations. In this she is
helped enormously by star Case, whose bravura performance as the engagingly grumpy Val adds life to every situation. Case's work is so realistic that
viewers unfamiliar with her history will think they're watching the real thing. And in the best possible sense, they are.”

- Kenneth Turan

Cos Angeles Slimes

“This densely-layered yet fast-paced drama. ..dissects with both chilling precision and humor such matters as
class differences, real mothers vs. caretakers, and whether privilege and one's own station are things that can be
questioned or changed. The beauty of the liigOillOUSly COnStrUCtOCI screenplay is that it feels like a
story-driven narrative while it explores a lot of complex ideas... One of Brazil's best and most beloved actresses.
Case here makes a welcome return to features after years in TV.”

- Boyd Van Hoeij

I lolllIu-iHHl

• ^REPORTER

‘Brazilian filmmaker Anna Muylaert spins a culturally specific tale with UniV0rSOl Qpp0Ql. Showcases

an indelible star turn from popular local thesp Regina Case.”

- Geoff Berkshire

“Puts an enormous, one-of-a-kind performance at the center of an
uncommonly complex dramatic comedy about family, love and class. ..The first
and last things to be said about The Second Mother are how entertaining it is, and how wise.”

- Joe Morgenstern

THEWMISTREET JOURNAL

OFFICIAL AMPAS SCREENING

Mon, Nov. 30, 9:15pm
Samuel Goldwyn Theatre

AMPAS, HFPA, & SAG NOM COMM MEMBERS PLEASE JOIN US

Sun, Nov. 29, 5pm
Sun, Dec. 6, 2pm
Thurs, Dec. 10, 1pm

Wilshire Screening Room

8670 Wilshire Blvd., Beverly Hills

RSVP: thesecondmother@oscMloscope.net or 206-279-8638

REVIEWS theater

Misery

Bruce Willis is no match for a gleefully
deranged Laurie Metcalf in this ho-hum stage
adaptation of the Stephen King hit

By David Rooney

A nyone who saw rob reiner’s 1990 film
of Stephen King’s Misery will recall the scene
in which Kathy Bates “hobbles” James Caan
with a sledgehammer. That means most of the audi-
ence for this stage adaptation is already wincing in
anticipation well before the marvelous Laurie Metcalf,
as psycho fan Annie Wilkes, coos her reassurance:
“Darling, relax ... I’m a trained nurse.” Gasps of hor-
ror and nervous laughter follow as she reduces the
ankles of her favorite author to mush. Ouch. While
some nifty theater tricks are employed to execute
that grisly display of American Gothic, the production
is mostly content to recycle, rather than reconceive,
the material for a difierent medium.

Thanks largely to the wacko humor of Metcalf’s
diabolically folksy performance and to the ingenious-
ness of David Korins’ revolving set — which invites
us to follow the action from room to room exactly like
a camera — this Misery is an enjoyable enough rerun
that recaptures some of its predecessor’s B-movie plea-
sures. But there’s a strong whilf of cynicism about the
enterprise. The suspicion takes root from the start that
the only reason it exists is because Warner Bros, and
screenwriter William Goldman — who has adapted
the work as a stage play with minimal invention —
figured there were still a few bucks to be milked out of
a popular property.

It’s news to nobody that the key to selling repack-
aged product on Broadway is to stick a marquee-name
star in a lead role. In this case, that’s Bruce Willis as

best-selling romantic potboiler author Paul Sheldon,
saved during a blizzard from a car accident by Annie
and then held captive with two broken legs in her cot-
tage in rural Colorado.

Returning to the stage after three decades of film
work, Willis acquits himself respectably so long
as the role remains reactive. But as Paul regains his
strength, the actor’s familiar screen persona of the
smug tough guy kicks in, making it seem as if he’s in
on the joke and undercutting any sense of danger.
His noncharacterization fails to convey any discernible
traits of a writer, let alone a pulp author desperate to
liberate his inner literary genius. Audiences who shell
out to see a movie star may be satisfied; anyone hop-
ing for a nuanced performance, not so much.

Goldman clearly thinks more like a screenwriter
than a stage dramatist, and director Will Frears
follows suit in a production that drags even at 95 min-
utes. The staging retains a cinematic imprint, right
down to David Weiner’s moody lighting and composer
Michael Friedman’s movie-ish score. Those elements
would be effective if the writing also had the theatri-
cal vitality to enable it to stand on its own.

The play works better in its more Hitchcockian
scenes, as Paul sneaks out of his bedroom in a wheel-
chair to investigate the rest of the house during Annie’s
brief absences. Korins’ set, full of amusing, kitschy
details, turns slowly to allow us to travel with the pris-
oner, at the same time keeping an eye out for his
captor’s return. Elsewhere, however, the sole element
to acquire unique theatrical dimensions is Metcalf,
who’s going to need a chiropractor after carrying this
show on her back seven times a week.

Venue Broadhurst Theatre, New York (through Feb. 14^)
Cast Bruee Willis, Laurie Metealf, Leon Addison Brown
Director Will Frears
Playwright William Goldman

5 Stars Onstage

These name actors now can be
found showing off their chops in
New York or London

JUDI DENCH, THE WINTER^S TALE
Garrick Theatre, London

A regal and riveting Dench plays truth-
telling Sicilian noblewoman Paulina
alongside Kenneth Branagh’s jealous
king, Leontes, in this crowd -pleasing,
if somewhat stolid, interpretation
of one of Shakespeare’s less frequently
staged works. — Leslie felperin

KEIRA KNIGHTLEY, THERESE RAQUIN
Studio 54, N.Y.

The actress makes her Broadway
debut as a woman who escapes her
stultifying marriage for another
kind of hell in this uneven adaptation of
Emile Zola’s novel. She delivers a
bristling, committed turn — but the real
star is the breathtaking production
design. — david rooney

LUPITA NYONG’O, ECLIPSED
Public Theater, N.Y.

Making her N.Y. stage debut, the
72 Years a Slave Oscar winner is
heartbreaking in this nuanced portrait of
women caught up in the Liberian civil
war, written by The Walking Dead star
Danai Gurira. The production is slated
to move to Broadway in February. — d.r.

SAM ROCKWELL, FOOL FOR LOVE
SamuelJ. Friedman Theatre, N.Y.

Rockwell fares better than a miscast
Nina Arianda in the Broadway debut of
Sam Shepard’s 1983 drama, a twisted
American West romance with shades of
ancient Greek tragedy. The production,
while capable, feels overly tame. — d.r.

GEORGE TAKEI, ALLEGIANCE
Longacre Theatre, N.Y.

The beloved Star Tre/c veteran makes a
moving Broadway debut in a musical
inspired by his childhood experiences in
aWWII internment camp for Japanese-
Americans. But the powerful sentiments
of the story are flattened by pedestrian
lyrics and melodies. — d.r.

148 I THE HOLLYWOOD REPORTER | 11.27.15

THE CITY OF BEVERLY HILLS
THE RODEO DRIVE COMMITTEE

SUNDAY, NOVEMBER 22, 2015

6:00PM

DJ MICHELLE PESCE
International Celebrity DJ

MOLLY RINGWALD
Actor, Jazz Vocalist, Writer

(Qa/ic&

THE HOT CHOCOLATE NUTCRACKER
A Debbie Allen Production

WWW, RODEODRIVE-BH.COM

ROUNDTABLE

CONTINUED FROM PAGE 129

Have they mellowed?
FONDA They are still
strong, but they’re tem-
pered in a way I mean,
they’re strong to where
they keep me up at
night, but it has nothing
to do with acting. I left
acting for 15 years, and I

think it’s really nice to have
another life. I took too
much for granted when I
was younger. I didn’t
really want to be an actor. I
didn’t really love it. And
so I made a lot of mistakes.
Oddly, I care much more
about it now. I feel like a
complete novice.

WINSLET God, how lovely.
What a fantastic feeling.

Do you like to watch your
own work?

FONDA I watch dailies.
LARSON Playback.? Is that
what you mean.?

FONDA I learn so much by
watching it.

LAWRENCE I do, too. It’s
hard to do, but I think
it’s really important to go
back and watch yourself
MULLIGAN I can’t watch any-
thing. Nothing.

LAWRENCE I can’t hear
myself. I can stare
at my double chin all I
want, but hearing this
androgynous voice, you
can’t even tell what
sex I am.

FONDA I produced
On Golden Pond, and
I was curious that
Katharine Hepburn
never went to dailies
because she was a com-
plete control freak.

And I said, “How come

you’re not coming to
dailies. Miss Hepburn.?”
And she said, “A point
came with The Lion in
Winter where all I
could see were the wrin-
kles, and I realized that
I had lost the ability to
see what was right for
the movie, and I’ve never
gone to dailies since.”

Have you ever acted onstage?
LAWRENCE I never
have. I’m scared of it. I
don’t know if it’s a differ-
ent animal, I don’t know
if it’s the same animal.

I don’t know.

BLANCHETT The audience
gives you so much, the
other actors give you so
much, and what it [has]
is the rehearsal process.
You know that moment
in week three.? You f— ing
lose it and everything

falls apart and you go,
“Oh, this is shit! It’s
the week three moment.”
On film, that might be
take three — and then what
you do is you rebuild
it, but you’re rebuilding
it together.

LAWRENCE When I watch
you onscreen, it’s your eyes
and it’s your soul.
BLANCHETT And doing that:
{rolls her eyes).

LAWRENCE Yeah!
{Laughter.) You have crazy
eyes.

BLANCHETT Thank you.
That’s my bag of tricks.
Both mediums feed
each other. I know more
now how to use a wide
shot because of working
in a frame on the stage.
And I know much better
how to be present and
immediate and intimate
with a thousand- seat
house because of doing
a close-up. They’re
connected.

How else are film and
theater different?
BLANCHETT I wonder if we
take for granted that
there is a certain way to

make a film. You start on
day one, and you finish
on day 30 or whatever. But
I wonder if you did shoot
a bit, rethink and go back,
if there’d be more female
directors. With preproduc-
tion, the shooting, the
postproduction — that’s
two years of your life.

And a lot of women, par-
ticularly with families,
think, “How am I going to
manage this.?”

LAWRENCE I’m going
to ask this because I don’t
have children: What
is the difference between
men who direct [and]
have families, too.?
BLANCHETT There’s still an
expectation that some-
one’s going to be keeping
the home fires burning.
WINSLET My husband is a
very present husband,
and that has made going
to work feel easier. I
don’t feel guilty. I defi-
nitely feel less guilt
because I know he’s there
during breakfast, lunch
and supper if I’m not.
LAWRENCE I do want to be
a mother. But I don’t
need to think about it right
now. I really only think
about work. But it’s inter-
esting that there’s so many
different sides of this:
Women get frustrated that
we don’t get paid enough;
and then the Republicans
or the CEOs that are men
say, “Well, it’s because
women take off time for
maternity leave.”

LARSON It’s our fault,
obviously.

MULLIGAN We’re continu-
ing the human race
for you. You’re welcome!
{Laughter.)

FONDA More women have
to be in charge of studios,
so that they can greenlight
films with women.

MIRREN I don’t think that
works though, does it.?
LAWRENCE I think women
can be just as sexist.
Women can be misogy-
nistic, too — more so,

CONTINUED ON PAGE 152

“I got really, really drunk. But then that led to more anxiety. ...
And he was married. And it was going to be my first time kissing
a married man, and guilt is the worst feeling in your stomach.
And I knew it was my job, but I couldn’t tell my stomach that.”

LAWRENCE, on how she prepared for her first real sex scene in Passengers

150 I THE HOLLYWOOD REPORTER | 11.27.15

FOR YOUR CONSIDERATION

BEST ACTRESS
OLIVIA WILDE

“Olivia Wilde is electrifying,
delivers the finest acting performance of her career.”

-Clayton Davis, AwardsCircuit.com

“Wilde’s turn in Meadowland deserves to be talked about
for years to come. It’s the best work she has done yet
...and it’s nothing short of remarkable.”

-Kate Erbland, FilmSchoolRejects.com

A FILM BY REED MORANO

MEADOWLAND

BECA^
LM ^
VAL g

2015 -cC'

UT SAN^OIECO ^

f film g

X H

y 2015 OFFICIAL SELECTION

- HAMPTONS ^
INTERNATIONAL X
Vi FILM FESTIVAL 4V

n/MEADOWLANDFILM #@MEADOWLANDFILM @@MEADOWLANDFILM #MEADOWLAND PPPM 0 neoicm

CONTINUED FROM PAGE 150

they have more freedom
to do it.

MIRREN The economics
have to change.
LAWRENCE Why would
people have confidence in
a female director when
there are so few.? What is
it, 3 percent or something.?
MULLIGAN Ava DuVernay
was saying so interestingly
about the year that she
was offered Selma. She was
in the Sundance Institute
with another guy, and
they spent the whole year
doing all these festi-
vals together, and the films
were equally successful
and equally well reviewed
— and at the end of the
year, she was like, “Oh,
I’ve been given this
money to make this film,
Selma And her friend
was like, “Yeah, me too.
I’m making Jurassie
\_World\r {Laughter.)

Charlotte, you did 1974’s
The Night Porter with a
pioneering female director.

Liliana Cavani. Did you
expect more women
to follow in her footsteps?
RAMPLING For me, it’s a
question of choice. Liliana
Cavani, she wanted more
than anything to work and
to be directing pictures
— and that’s what she did,
and she carried on all
her life doing that because
that’s what she wanted.

And she made it happen.
So if a woman is deter-
mined, she will get what
she wants because we are
very determined creatures.
BLANCHETT You want to
exercise different muscles,
and it’s that opportu-
nity which is not always
afforded.

Speaking of exercising
different muscles, Cate
once played Bob Dylan.

Is there a male role
the rest of you wish you
could have played?
WINSLET I’d love to play
Hamlet.

MIRREN I did do Prospero.
Oh, there’s always
male roles I want to play.
I’m so annoyed when

I watch movies and go,
“That could have been
played by a woman.” And
it’s driven me crazy to
watch wonderful, brilliant
actresses — my con-
temporaries when I was
younger — diminish and
disappear and mediocre
actors carry on, male

actors. It’s so annoying.
Just change the name is
all you need to do.
BLANCHETT I had that
opportunity with a direc-
tor, and I was saying:
“This is a really interest-
ing script, and it would
stop being formulaic
if you had a woman play-
ing one of their team.”
And they’re thinking.

“Yeah, we have to rewrite
it.” I was like, “You
don’t have to change the
dialogue.”

Is there any great actress
you’ve learned from or
wish you had worked with?
FONDA The two
people I would have

said, I did work with:
Vanessa Redgrave and
Meryl Streep.

BLANCHETT Gena
Rowlands.

LARSON I was just going
to say that.

MIRREN Anna Magnani,
the goddess of film acting
for me.

RAMPLING Monica Vitti.
WINSLETl’dloveto
work with Toni Collette,
to be honest.

LARSON I’d see that
movie. Do that!

BLANCHETT And Lucille
Ball. We are doing
something with Lucille
Ball, one of my all-
time favorites.

FONDA Are you playing
Lucille Ball.?

BLANCHETT That’s the
plan. {Groans.) Unless they
change their mind.
MULLIGAN Marion
Cotillard. But I also feel
like I don’t want to
be on the same screen
as her because you
would see through what-
ever I was doing. UUH

“I do want to be a mother. But I don’t need to think about it
right now. I really only think about work. It’s interesting that there’s
so many different sides: Women get frustrated that we don’t get
paid enough: and then the Republicans or the CEOs that are men
say, ‘Well, it’s because women take off time for maternity leave.’ ”

LAWRENCE

CATE BLANCHETT

TRUTH, CAROL (BELOW)

Blanchett plays a wife whose life is upended
when she falls for a younger woman in this
Todd Haynes drama, one of two award-worthy films
starring Blanchett this year, along with Truth.

JANE FONDA

YOUTH

In a single startling scene, Fonda re-enters the
life of Harvey Keitel’s character in this English-
language drama about an aging composer (Michael
Caine) from Italian maestro Paolo Sorrentino.

BRIE LARSON

ROOM

Larson’s portrayal of a young woman held
captive in a small shack and forced
to bear her abductor’s child has lifted her to
the uppermost ranks of young stars.

JENNIEER LAWRENCE

JOY

The Oscar-winning actress teams
with her Silver Linings Playbook director,
David 0. Russell, for a third time in the
semi-true story of the Miracle Mop inventor.

HELEN MIRREN

CAREY MOLLIGAN

CHARLOIIE RAMPLING

RAIL WINGLEl

Mirren was never lucky enough to meet
Maria Altmann, the real-life character she plays in
this story about Altmann’s quest to retrieve a
Gustav Klimt portrait that was stolen by the Nazis.

Mulligan has one scene — and only one scene —
opposite Meryl Streep (who plays real-life
activist Emmeline Pankhurst) in this story about
Britain’s early movement to get women the vote.

Paris-based Rampling returned to England for
this drama about an older woman who
discovers the truth about her husband’s early love
affair, in which she stars with Tom Courtenay.

The Academy Award winner says playing
Steve Jobs’ right-hand woman, Joanna
Hoffman, for director Danny Boyle gave her
the perfect meaty role to conclude her 30s.

152 I THE HOLLYWOOD REPORTER | 11.27.15

Your New York City Realtor'

Professional, intelligent, discreet representation for
your and your clients' residential needs in Manhattan and
Brooklyn - purchase, sales, and short/long term rentals.

Contact:

Mike Lubin

Licensed Associate Real Estate Broker
Brown Harris Stevens Residential Sales, LLC
1926 Broadway, New York, NY 10023
mlubin@bhsusa.com
www.mikelubin.com
Cell: 91 7-371 -6723

CHRISTIES

ACADEMY & GUILD

UCUDCD&

DOES THE HOLLYWOOD REPORTER
HAVE YOUR CURRENT
CONTACT INFORMATION?

UPDATE IT NOW AT THR.COM/GUILDUPDATE
OR BY CALLING 866-525-2150

HoUlfU'iHHl

Farewell

RON V. BROWN

1929-2015

In fond remembrance of Ron and his 55 year career
with MCA, Embassy Communications,
MGM/UA and Ron V. Brown International.

Beloved and sadly missed.

Shirley, Ron Jnr., Richard and Melissa

Promoting Equality & Justice
SCLC"SC Honors Cheryl Boone Isaacs

DeVon Franklin Ken Maxey

Charisse Bremond Weaver

Monday, January 18, 2016

5 pm Reception 1 6 pm Dinner & Program

The Dr. Martin Luther King, Jr.
Legacy Awards & Benefit Gala

rana Ballroom | Shercton . .. .r:=„va'. Hotel

I : "lOrary Tnairper^i Matthew M. Johnson, Esq.

Mr igi- . ^ Britten^

of Ceref ronies' Willlann Allen Young

‘-'j'

Pastor William D. Smart, Jr.

-Or oponsonihip & >ibute Ad. cr, 13)268-^082

Tooets & Infon nation, hip: >‘?0'ibsck-av..avvejiti;c

Media Partners: iSS/ HollUWOOd

^ ORgRORTKR

bacBoi

A final look at the industry far and wide

► gflflf?Mfl/?M/?Mm'S4DTHANNIVERSARY \

HOW WE DID IT;
FROM A.M. ALSO-RAN
TO RATINGS GLORY

The morning show’s anchors, producers and players tell
THR all about decades of shuffling hosts, executive drama
and covering world-shaking events as GMA turned into a
profit center (earning ABC $363 million in 2014)

By Marisa Guthrie

B y the time executives at abc decided that it should
have a morning program, NBC’s Today show had been waking up
America for more than 20 years. Good Morning America did not
exactly get off to an auspicious start in November 1975. Many of
ABC’s stations declined to carry this experiment out of the entertain-
ment division, which had tapped an actor — David Hartman — to inform
bleary-eyed viewers. (The show would later be reassigned to the news
division.) But soon, GAfA’s “conversational” approach, as Hartman puts
it, won viewers over and the show mounted a challenge to Today, over-
taking them for the first time in 1979 and fomenting the a.m. show wars
that rage to this day. As GMA celebrates 40 years on TV, THR looks back
at the milestones of a morning institution.

DAVID HARTMAN, host, 1975-87

[NBC’s Today show] had been on
since ’52. It was the only game
in town. CBS had an hour of news
and then Captain Kangaroo. ABC
wasn’t even on in the morning at
that point. The mission was: How
do we inform in a conversational,
intelligent way.? It was not a full-
service network. We hardly had any
stations — maybe 115 stations
— and not one paid commercial.

WOODY FRASER, executive
producer, 1975-80

I was producing The Mike
Douglas Show and what [ABC
Entertainment chief Fred]
Silverman really wanted me to do
was to bring Mike Douglas in and
make him the host. I said, “Well,
he’s tied up.” He calls me and
[ABC executive Bob] Shanks into
his office and he says, “The Today
show is in the news division, and
we’re in the entertainment
division. The Today show has news
people as hosts. We’re going to
have actors as hosts.” And we both

laughed. I said, “That’s ridiculous.
You’re going to have an actor inter-
view Menachem Begin, interview
the president of the United States.?”
But it worked out. The audience
connected with David.

JOAN LUNDEN, correspondent
and fill-in anchor, 1976-80; co-host,
1980-97

It was different [from Today^ . It
was a living room, there was the
sunrise [logo], not pretentious,
very purposely not high-end. We
had that rattan sofa: the most
uncomfortable sofa in the world.

PHYLLIS MCGRADY, executive
producer, 1984-86

Today was a very New York-
centric, sophisticated morning
show. And so the whole strategy
was [to create] a show that really
reached out to the hinterlands
and the American people.

FRASER One day in 1979, Hartman
comes into my office and says,
“You’re not going to believe who

Amy Robach, Roberts, Stephanopoulos, Spencer and Ginger Zee are GMA’s current generation.

just called me: Jimmy Cagney.

He watches the show; he compli-
mented me on my job.” Now,
Jimmy Cagney was a recluse. So I
said, “What did you say to him.?”
He says, “Thank you.” I said, “No,
David, you’re going to call him
back and say, T want to come to
your farm and interview you.’”
And so we did. Nobody had ever
done an interview with Cagney.
And that was the first week we
beat the Today show.

LUNDEN You want to try to find
those people that have chemistry.
And I was able to make good
chemistry with David, even though
I knew that he was making a
couple million dollars and I was
probably making a couple hundred
thousand dollars. [In 1980, after I
was promoted to co-host,] Barbara
Walters came on GMA. She took

me aside during the commercial
break and said, “I’m going to give
you the best advice you’re ever
going to get. They are not ready
to give you equality. You just
take every story they’re willing to
give you and make every one of
them shine, and you’ll be OK here.”
And that’s what I did.

MCGRADY The real turning point
was in 1980 [when ABC had] the
Lake Placid Olympics. It was full of
great American stories, including
the U.S. hockey team [beating the
USSR]. We never looked back.

HARTMAN [Texas] Gov. John
Connally and Nellie Connally
were in the car with JFK when he
was killed. [They had testified in
front of] the Warren Commission,
but had never gone public. It was
1983, the 20th anniversary of the

154 I the HOLLYWOOD reporter 1 11.27.15

V „ VSWWSV VSS 99 WV vE«y«»v V
- V ■» V% V V% V V% V V% 9 ” V

^vvvvvvvvvvvvyvvvvvvvvvvvvvyv9vvvvvwvvvvvvvvvv?vvvvvvvvvvvvvvvvvvvvvvvvvv>n

BOOKS

•<<<aXaXXa>>>'

‘ *

VmYL

OBJETS

DS’BHT

GIFTS

>Ai-4:tix

XA'A'A>VA*AyiVA^

VA*A>>»'A>*4*A>’A'ky

TOYS

8818 SUNSET BOULEUBRD
XUTEST HOLLYWOOD, CH
310. 6S8. 3110 I BOOKSOUF.com

vwwwvwwvwvwwvwvwwvv

HO^ OFF

vvvvvvvvvvvvvvvvvvvvvvvvvvvwy

COBPORfiTE DISCOUMTS

Present this coupon to a Book Soup cashier to receive 40%
off one Item only. One time use only. Expires 12/24/15

Vohd for ono frofttocnon onir- OiKount moy ool bo combinod with onv ofhor

■ ‘ I limrlod

dcKouni, ond moy not bo usod on som« non-diicounloblo Honu liko I
oditiorH. Not vofld on prior putchoim Good on in«slock morctiondiso only
Moy not bo utod on Gift Conk, Gift Corlificales, penodkolt. vinyl, poitoeo
ftompt, ipocid Ofdors. dvds, c^. obookt, KOBO o roodorv or ot^ itoms
codod non-discoonlobio Cofhiors pl^o»o uso discoont codo. M

X0E OFFER R 20~H0% UOLUinX
DISCOUNT FOR CORPORRTX C2XFTSI

Not vokd on Gdt Cordt, Gift CortiKcofM. ponodicob. vmyl. poUoQO Atomp». viociol
ordon, dvcb. ah, obooki. KOBO o-roodor» or other itorm coded non*diKountoble

vvvvvvvvvvwvvrvvvyvvvyvvvvvvv vwvwvwwwvfwvwwvwwwv

yVVVVVVVVVVlMWyVVVVVVVVVVVIMyMMVVVVVVVVVVl^^

" V ^ V Vv ^ V }(y Ifw '' V l(y "

y XKKxy vxxx»«y vxSy»«y yx3x»«y yxSxK y

bacBoi

assassination. So [the] governor
and Mrs. Connally came on.

One of the biggest challenges of
interviewing is having the guts
to keep quiet and listen. So I said,
“Gov. Connally, Mrs. Connally,
tell us what happened in the car.”
It was all I could do to keep from
getting choked up.

1 “Everybody was
calling in to our control
room, including Disney
executives, to find out what
was going on,” recalls
Ross of covering 9/11 with
Gibson and Sawyer. “Our
control room stayed hot
in case Peter Jennings’
[1/1/or/d News] control
room went down. We were
all told that we were
possible targets.”
2 With their coverage
of the 1980 Winter
Olympics, GMA began to
establish itself as a
legitimate news outlet.
2 GMA’s Lunden spent a
week in the U.K. to
cover the 1981 wedding
of Prince Andrew
and Sarah Ferguson
— broadcasting live from
Windsor Castle, a
morning-show first.

HARTMAN We were breaking news
almost on a daily basis. And it s not
something people expected from
a show produced by the entertain-
ment division.

LUNDEN ABC got sold to Disney
[in 1995 ]. And Disney said to the
news department, “What would
you like.?” Roone Arledge [the head
of ABC Sports and ABC News] said
he’d like GMA. And they brought
us all together into a meeting and
said, “If it ain’t broke, don’t fix it.
You guys have done an amazing
job.” Charlie leaned over to me
and said, “Who’s going to go first,
you or me.?”

Lunden left in 1997, and Gibson was
paired with Lisa MeCree until 1998,
when he also exited. With MeCree and
Kevin Newman as eo-hosts, GMA ’5
ratings eratered.

SHELLEY ROSS, EXECUTIVE
PRODUCER 1999-2004

I had been in all these meetings

with Phyllis [McCrady]. We
had lists and lists of people: Tom
Selleck, Tom Bergeron, Rosie
O’Donnell, Cynthia McFadden. The
show was in free fall [in 1998].
And it was pretty much a given that
the solution was to bring Charlie
back. I’m in L.A., and they asked
me to fiy in to meet with Charlie
Gibson two days before Christmas.
I take a red-eye, then I get a call
that Charlie didn’t want to meet.
He didn’t want to be talked into
coming back to the show. And I’m
thinking, “Why didn’t Charlie
want to return.?” The lightbulb went
olf: Maybe what Charlie needs is
the prom date he can’t turn down.
Diane [Sawyer] was the prom date.

MCGRADY Diane and Charlie
anchoring the program was an
instant message to the news
division that this show is very
important and covering stories
for this show is a major priority.

ROSS When the second plane went
in, my immediate thought was,
“This is Pearl Harbor. We are under
attack.” Everything was happen-
ing so quickly. Charlie and Diane
were so calm, so amazing. We sent
Charlie and [producer] John Green
to try to get [to Lower Manhattan]
through Staten Island on the ferry.
We sent George Stephanopoulos
and [producer] Max Culhane [to
Ground Zero]. Jessica Murrow,
one of our audio people, her hus-
band was a sommelier at Windows
on the World. For me and direc-
tor Bob McKinnon, she became the
conscience of our coverage. So
many of our staff had grown up in
and around New York, and for the
following days, you’d look around
the newsroom and find someone
slumped over their desk having
just received bad news. I would walk
many of the staffers out of the
building and around the block. I
didn’t go home for days.

WAKE-UP CALLERS

David

Hartman

Nancy

Dussault

1915-108] 1975-19]]

Joan

Lunden

Charles

Gibson

Lisa

MeCree

1980-199] 198M998, 1999-2086 199M999

Kevin

Newman

Diane

Sawyer

Robin

Roberts

George

Stephanopoulos

Lara

Spencer

2811-

156 I THE HOLLYWOOD REPORTER | 11.27.16

PROMOTION

UONN

AAF.-Vm-
Vi>" t

raoiv'-'"

2015

SHERRY LANSING
LEADERSHIP
AWARD HONOREE

BARBRA

STREISAND

Women

in Entertainment

The Hollywood Reporter's 24th Annual Women in Entertainment stand alone issue
salutes the women at the top of the industry with a Power 100 list of female studio and
network executives, producers, directors, agents and A-List talent.

This issue will highlight

Barbra Streisand, the 2015 Sherry Lansing Leadership Award honoree.
ISSUE DATE: 12/9 | CLOSE: 11/30 | MATERIALS 12/2

BONUS DISTRIBUTION AT: THR’S WOMEN IN ENTERTAINMENT BREAKFAST

CONTACT: 323 . 525.2245

bacBoi

ROBIN ROBERTS, CORRESPONDENT,
1995-2005; ANCHOR, 2005-PRESENT

We had more room at the table
[after Gibson left in 2005]. We were
crammed in there, just elbow-to-
elbow for a while. And what I really
appreciated, and Diane did as
well, is no one [said,] “First time,
two women anchoring a morning
show.” It was, “Diane and Robin.?
Sure, why not.?”

BEN SHERWOOD, EXECUTIVE
PRODUCER, 2004-06; PRESIDENT
ABC NEWS, 2010-14

In early May of 2005, GMA closed
the gap with Today and came
within 45,000 viewers of victory
— 45,000 out of 37 million total
watching morning TV. That’s 0.1%.
Coming so close was equal
parts frustrating and motivating.

JIM MURPHY, SENIOR EXECUTIVE
PRODUCER, 2006-11

We were constantly making
small runs at Todays we’d go for-
ward and then fall. So it was
quite a struggle. And obviously the
show was healthy, the show made
money, but you wanted to win.

So we were constantly doing new
things. After Diane had gotten
into North Korea [in 2006], we
decided to go to every one of the
so-called Axis of Evil [countries].
And we wound up going to Syria
and interviewing Assad, [then] to
Iran and talking to President
Mahmoud Ahmadinejad.

GEORGE STEPHANOPOULOS, anchor,
2009-present

The truth is, I said no [to the GMA
job] two or three times. \_GMA
adviser] Peter Horton helped me
come to this notion of just being
myself, reacting as honestly and
authentically as I could. To take
it on as improv professionals do and
say yes to what’s coming. That was
a breakthrough for me.

JAMES GOLDSTON, senior executive
producer, 2011-12; president ABC News,
2014-present

We felt the morning show genre
was ripe for updating. [It had] been
unchanged for the past generation.

LARA SPENCER, correspondent
1999-2004; lifestyle anchor, 2011-14;
anchor, 2014-present

I had been at WABC doing a

nightly feature called Life Around
Here. [It’s 1999], I go up to the
newsroom one day, and there’s this
message from Diane Sawyer in
her lovely voice saying, “I abso-
lutely love this segment, and I
would love for you to come work at
Good Morning AmerieaT I called
her right back. I was like, I don’t
want her to forget that she made
this phone call!

ROBERTS Every correspondent
has a standing request in with the
president and they rotate with
networks. I’m sure it never came
up in the vetting process [for
Roberts’ May 2012 interview with
Obama, in which he first declared
his support for marriage equality]
about my sexual orientation, but
he’s president of the United States.
I’m sure he had to know. Honestly,
the reason I think I was selected
was the president wanted to have
a conversation; he didn’t want to be
interrogated. When NBC broke
into programming to use our sound
bite, that’s when you know it’s big.

GOLDSTON We had lost [in the
ratings to Today'] for more than 16
years, literally every week. We
weren’t just losing each season, but
each week. It was pretty bad. It
was tough. But the team kept going,
kept battling it out.

SHERWOOD We’ll never forget the
morning of April 19, 2012. At 8:31
am, I received a call from Amy
Miller in our research department.
Her voice was filled with excite-
ment. GMA had won for the first

time in 852 weeks. I immediately
called the GMA control room to
share the news.

JOSH ELLIOTT, anchor, 2011-14

We were coming back inside the
studio. Robin was in front, and she
stopped dead in her tracks, and
let out a deep yelp of joy. Moments
later, the rest of us knew why. We
turned and grabbed each other and
... well, it gets fuzzy.

In June 2012, five years after she
survived breast eaneer, Roberts
revealed that she was battling a life-
threatening blood disease that
would require ehemotherapy and
a bone marrow transplant. Her
treatment was ehronieled on GMA,
a deeision that was questioned by
GMA ’5 eompetitors and others in
the media.

ROBERTS For those of us who are
journalists, those are rare oppor-
tunities to be able to have a real
teachable moment for the public.
I’d say to [critics], “Ask the

By early 2011b, GMA ’5 win-
ning anehor team would disband:
[Meteorologist] Sam Champion
deeamped to The Weather Channel in
Deeember 2013, and Elliott left for
NBC Sports in Mareh 2011b, after a
protraeted eontraet negotiation. And
the ratings pendulum also has swung:
NBC’s Today show has bested GMA
for 10 straight weeks in the all-
important 26-61b demo, making it the
top-rated morning show this season.

GOLDSTON We always play as if we
are in second place. We always
expect this is going to be a close
race. You have to earn the audi-
ence’s attention every single day.
We work hard to do that, and
\Today] works hard to do that. We
enjoy the competition. CZZD

1 Correspondent
Michael Strahan,
flanked by the
members of One
Direction, during an
August 2015 GMA
Summer Concert
Series segment.

2 Roberts and
Sawyer were the
first all-female
team to anchor a
morning show.

people that I talked to who were
helped by me sharing my story.”
And I’m saying this very measured
because, come on, seriously.?!
Yes, I got cancer on purpose and
had a relapse so we could be
number one. Give me a break.

158 I THE HOLLYWOOD REPORTER | 11.27.15

Join us December 6
at the

Millennium Biltmore Hotel
to celebrate three of
Hollywood's Best:

THE

VISIONARY

LUMINARY

AWARD

For Humanitarian

For Career

Work

Achievement

jOE

TAVIS

MANTEGNA

SMILEY

Introduced by

DAN LAURIA

DIAHANN

CARROLL

THE LEGEND
AWARD

Lifetime
Achievements
and Contributions
to Society

BOB BARKER

Introduced by
DREW CAREY

8th Annual
National Arts &
Entertainment
Journalism
Awards

With hosts Wendie Malick, Jack Maxwell,
Robert Kovacik and comic Alonzo Bodden.

Zimmer Children’s Museum

Discovery
Award Dinner

The Zimmer Children's

congratulates our Discov^ Awond

Karey Burke and James MandelbaS^

We thank you. your colleagues, frteids oi^
family for a wonderful night In support of our
programs for underserved children, fanarg
and teens. *

To learn more: www,^immermuseum,org

Tickets, sponsorship packages and more information at
LApressclub.org.

Or call 310-210-1860 and ask for Diana.

8 Decades of The Hollywood Reporter

The most glamorous and memorable moments from a storied history

In 1967, Field attended the
Blurb Awards, given to radio
and TV ads, with soon -to- be
first husband Steven Craig.
“What I remember is the
dress,” she says. “I wore that
dress many times.”

“Marty Ritt used to say to me, ‘You
can’t believe the bad, therefore
you can’t believe the good, either.

FIELD, quoting the director of Norma Rae

Sally Field Read
THR in 1967,
But Warily

S ALLY FIELD AND THE

Hollywood Reporter go back a
ways together. In its 1965
review of ABCs Gidget, THR said
the surfer-girl comedy “intros a brisk
fledgling in Sally Field.” A year later,
when she was 19, it announced her
first film role in The Way West. (Kirk
Douglas leads a wagon train to Oregon,
Field falls in love with another young
settler who accidently kills an Indian
chief s son, and Douglas has to hang
him to keep the Indians happy.) And
in 1967 , when she starred in ABCs The
Flying Nun — playing a 90-pound sister
who achieves liftoff thanks to heavy
winds and her massive cornette — THR
said she was “winsome and credible as
the navigating novice, her timing and
mugging timed for unerringly strong
effects.” {THR also declared the sitcom,
which ran until 1970, “the TV season s
first unqualified hit.”) Other mentions,
like when she won a couple of Oscars
(one in 1980 for Norma Rae, and anoth-
er in 1985 for Places in the Heart), came
later. But she never was a consistent
THR reader. “I knew enough to stay
away from everything that could poten-
tially make me crazy,” says Field, 69.

“It was instinctual. In the show-business
family I grew up in, everybody was
always looking for their next job. You
didn’t spend a lot of time looking at
the trades and seeing other people hav-
ing jobs and you didn’t.” But Fields
occasionally will read the publication’s
current incarnation, now celebrating
its fifth birthday. “The new Hollywood
Reporter comes to my house. It does
look good; it’s beautifully done, and I
sometimes And myself sucked in. My
sons read it. They go over every page.”

— BILL HIGGINS

Sally Field Feature Debut

«;a11v Field, star of “Cidget TV
to make her motion pic*.
Harold Hecht’s “Way

series, signed
ture debut in
West.”

The Hollywood Reporter. Vol. CDXXI. No. 39 (ISSN 0018-3660; USPS 247-580) is published weekly except for combined issues in the 2nd and 3rd week of March, the 3rd and 4th week of April, the last week of June, the first 2 weeks of July, the first 2 weeks of Sept., the last week of Oct., the 1st week of Nov. and the last
2 weeks of Dec., with 13 special issues: Feb (1). June (3). Aug. (3). Oct. (1). Nov. (3). and Dec. (2) by Prometheus Global Media LLC. 5700 Wilshire Blvd.. 5th floor. Los Angeles CA 90036. Subscription rates: Weekly print only. $199: weekly print and online, including daily edition PDF only. $249: online only, $199; digital
replica of weekly print. $199. Single copies, $5.99. Periodical Postage paid at Los Angeles. CA and additional mailing offices. POSTMASTER: Send all UAAtoCFS. Non-Postal and Military Facilities send address changes to The Hollywood Reporter. P.O. Box 125. Congers. NY 10920-0125. Linder Canadian Publication Mail
Agreement No. 41450540 return undeliverable Canadian addresses to MSI. PO BOX 2600. Mississauga, On L4T OA8. Direct all other correspondence to The Hollywood Reporter. 5700 Wilshire Blvd., 5th Floor. Los Angeles. CA 90036. Prometheus Global Media. LLC: Vice President. Human Resources; Angela Vitacco.
Advertising/Editorial Reprints: Reprints ofeditorial or ads can be used as effective marketing tools. Eor details, please contact Wright’s Media: (877) 652-5295 or e-mail at pgm@wrightsmedia.com. Permission: Looking for a one-time use of our content, as a full article, excerpt or chart? Please contact Wright’s Media,
(877) 652-5295; pgm@wrightsmedia.com. Subscription inquiries: U.S. call toll-free (866)525-2150. Outside the U.S.. call (845) 267-4192. ore-mailsubscriptions@hollywoodreporter.com. Copyright ©2015 Prometheus Global Media. LLC. All rights reserved. No part of this publication may be reproduced, stored in any
retrieval system or transmitted, in any form or by any means — electronic, mechanical, photocopying, recording or otherwise — without the prior written permission of the publisher. THR.com PRINTED IN THE U.S.A.

160 I THE HOLLYWOOD REPORTER | 11.27.15

Etihad Stadium gate record

56,214

UFC attendance record

Most widely distributed
UFC event via closed circuit

in merchandise sales

No. 1 Sports Event

on Nielsen Twitter TV Rating
with more than 85. 9M live
impressions in the U.S.,
peaking at 29K tweets
per minute

38M Viewers

Highest weekly viewership
on UFC Embedded,
a UFC original weh series

#Andl\lew

Highest Grossing Event

. in UFC History

1 $6.79M

A FRAGRANCE INSPIRED, BY
THE ICONIC TRgNCH COAT

AVAI LABLC AT NORDSTROM
. AND NORDSTROM.COM

\ MONOGRAM AS A GIFT

Y AT burberMy.com

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "The Hollywood Reporter November 27, 2015"

See other formats